KATOLICKI UNIWERSYTET LUBELSKI JANA PAWŁA II Multilingual

KATOLICKI UNIWERSYTET LUBELSKI
JANA PAWŁA II
Wydział Nauk Humanistycznych
Instytut Filologii Angielskiej
Krzysztof Pańczyk
(Nr albumu: 110 645)
Multilingual Chess Terminology a Synchronic and Diachronic Perspective
Praca magisterska napisana pod kierunkiem
dr Marii Bloch-Trojnar
Lublin 2009
Acknowledgements
I would like to thank above all two people without whom this thesis would never be
written: my master’s dissertation supervisor Doctor Maria Bloch-Trojnar and my
bachelor’s thesis supervisor Professor Anna Malicka-Kleparska who encouraged me to
write a work on chess. I really appreciate their kindness, invaluable advice, comments
patience, understanding, help in orientation of the work and any other support. I would
also like to thank everybody who helped me in different things connected with writing,
first of all Mr Tomasz Lissowski for numerous consultations concerning history,
literature, vocabulary as well as putting me in contact with a German chess-player. I am
grateful to Dr Michael Negele from Germany for his comments concerning texts in his
native languages. I thank my friend Sergey Shilov (Ukraine) who helped me a lot in
Russian and Elżbieta Nowak for a consultation concerning Italian. I also thank my
parents and my friends: Jacek Ilczuk, Zbigniew Szymczak, Mirosław Sarwiński, Piotr
Murdzia, Adam Wróblewski (Canada), Grażyna and Krzysztof Rynkiewicz, Luigi
Niewiadomski (USA) and Zygmunt Urbanowicz for different kind of help.
2
Contents:
Chapter
Page
List of tables, Abbreviations, Symbols used in Chess Notation, Periods of
8
the Languages Mentioned in the Thesis
Introduction
12
Chapter 1 The History of Chess and its Cultural Background
15
1.1 A Brief History of Chess
15
1.1.1 An Ancient Legend
15
1.1.2 The Early Stage
15
1.1.3 Chess in Europe
16
1.1.4 Contemporary Chess
17
1.1.5 History of Chess in Poland and Polish Contribution to Chess
18
1.2 An Outline of a Cultural Background
19
1.2.1 Literature and Chess
20
1.2.2 Film
21
1.2.3 Music
21
1.2.4 Painting
22
1.2.5 Politics
23
1.2.6 Popes
23
3
Chapter
Page
1.2.7 Science
24
1.2.8 Education
25
1.2.9 What is Chess
27
1.2.9.1 Chess as Knowledge
28
1.2.9.2 Chess as Art
28
1.2.9.3 Chess as a Sport
28
Chapter 2 Linguistic Considerations
30
2.1 A Brief History of Linguistics
30
2.1.1 Neogrammarians
31
2.1.2 Structuralism
31
2.1.3 Diachronic and Synchronic Approach
32
2.1.4 Generativism
34
2.1.5 Cognitive Grammar and Cognitive Linguistics
35
2.2 Etymology
36
2.2.1 Actual, Structural and Etymological Meaning of Words
37
2.2.2 Folk Etymology and Etymological Illusions
38
2.3 Why Do Languages Change?
39
2.4 Lexicalisation and Institutionalization
40
4
Chapter
Page
2.4.1 Sound Change and Semantic Change
40
2.4.2 Ambiguity of Words
41
2.4.3 Static and Dynamic Treatment of Word-Formation
41
2.4.4 Lexicon Enrichment
42
2.4.4.1 The Need for Creating New Words
42
2.4.4.2 Stages of Word Formation
42
2.4.4.2.1 A Nonce Formation
43
2.4.4.2.2 Institunalization
43
2.4.4.2.3 Lexicalization
43
2.4.5 Types of Lexicalization
44
2.4.5.1 Phonological Lexicalization
44
2.4.5.1.1 Prosodic Features
44
2.4.5.1.2 Segmental Features
44
2.4.5.2 Morphological Lexicalization
45
2.4.5.3 Semantic Lexicalization
45
2.4.5.4 Syntactic Lexicalization
46
2.4.5.5 Mixed Lexicalization
46
2.5 Variants of Language
46
5
Chapter
Page
2.5.1 Jargon
47
2.5.1.1 Jargons and Special Languages
48
2.5.1.2 Chess Jargon
49
2.5.2 General Language and Special Languages
50
2.6 Figurative Language
51
2.6.1 A Style
51
2.6.2 The Ornateness of a Style
51
2.6.2.1 Types of Ornaments
52
2.6.2.2 Metaphor
55
2.6.2.3 Metaphor and the Truth
56
2.6.2.4 Metaphor According to George Lakoff and Mark Johnson
57
2.6.2.4 Chess Metaphors in Writings by Saint Teresa of Avila
61
2.6.2.5 Allegory
62
2.6.2.6 Metonymy
63
Chapter 3 Chess Terminology
66
3.1 The Origin of Chess Vocabulary
67
3.2 The Most General Terms
68
3.3 Chessboard and Chessmen
82
6
Chapter
Page
3.4 Moves
100
3.5 A Chess Game, Chess Tournaments
106
3.6 Chess Words and Expressions Which Are Metaphors of a Battle
120
3.7 Miscellaneous
145
Conclusions
152
Streszczenie
155
References
156
7
List of Tables, Abbreviations, Symbols Used in Chess Notation,
Periods of the Languages Mentioned in the Thesis
List of Tables
Title
Page
Number
1
The Most General Terms
69
2
The Chessboard and its Elements
84
3
Chessmen
88
4
Moves
102
5
A Chess Game, Chess Tournaments
108
6
Metaphors of a Battle
122
7
Miscellaneous Expressions
146
Abbreviations
*
asterisk is used for reconstructed words when there is no direct evidence that
they existed exactly in the form given
†
not retained words reconstructed on the bases of derivates
acc.
accusative case
adj.
adjective
AmE
American English
art.
article
BC
before Christ
BrE
British English
BT
Pismo Święte Starego i Nowego Testamentu. 1980.
c.
circa
cf
confer
coll.
colloquially
corr
correspondence game
fin.
final
gen
genitive case
GNB
Good News Bible With Deuterocanonical Books/Apocrypha
KJVB
The King James Version of the Bible
8
l.
line (in a poem)
M.E.
Middle English
m
match
m2
the second game of a match
MEDAL Macmillan English Dictionary for Advanced Learners. 2006. Oxford:
Macmillan Publishers Limited.
n
noun
NN
unknown player
O.E.
Old English
ODE
Oxford Dictionary of English
ol
Chess Olympiad
olm
Chess Men’s Olympiad
p.
page
sb
somebody
sth
something
Sth
Summa Theologica
u
under (age)
USJP
Dubisz, Stanisław (ed.). Uniwersalny słownik języka polskiego. Wersja
elektroniczna. Wydawnictwo Naukowe PWN.
v
verb
vol.
Volume
Symbols used in Chess Notation1
!!
an excellent move
!
a very good move
!?
a move deserving attention
??
a blunder
?
a bad move
?!
a dubious move
#
checkmate
+
check
x
capture
1
Most of the symbols taken from “Šahovsky Informator” no. 93 II-V 2005 p. 12-13 and “New in Chess”
Yearbook no. 82/2007.
9
+-
White has a decisive advantage
–+
Black has a decisive advantage
±
White has the upper hand
µ
Black has the upper hand
²
White stands slightly better
³
Black stands slightly better
=
equal position
÷
unclear position
©
with compensation for the material
‚
with attack
„
with counterplay
¹
better was
‹
weaker was
…
with the idea
0-0
short castling
0-0-0
long castling
1-0
White won
0-1
Black won
½-½
draw
B
bishop
K
king
N
knight
N
novelty
Q
queen
R
rook
Periods of the Languages Mentioned in the Thesis
English
Old English=Anglo-Saxon - 450-1150
Middle English - 1150-1500
Early Modern English - 1500-1700
Modern English - 1700-now
(see Gelderen 2006:10)
10
Polish2
Old Polish - from 10th till 16th century
Middle Polish - from 16th century till 1780
Modern Polish from the time of the Enlightenment onwards
German
Old High German - from the middle of the 8th century till 1100
Middle High German - from 1100 to 1500
Modern High German - after 1500
(see Polański 2003:393)
Russian
Old Russian - from 11th till 14th/16th century
The Unification (Moscow) Period - 16th -18th century
Modern Russian - from the turn of 18th and 19th centuries onwards (see Wikiopedia,
entry: Język rosyjski)
French
Old French - from 9th till 13th century
Middle French - from 14th till 16th century
Modern French - from 17th century onwards
(see Polański 2003:182)
Persian
Old Persian 6th - 4th century BC
Middle Persian (Pehlavian, Parsic) - 3rd century BC - 8th century after Christ
Modern Persian - 9th century onwards
(see Polański 2003:431).
2
Cf footnote 44 p.82.
11
Motto
‘Of all comparisons that might be imagined, the
most fruitful is the one that might be drawn between
the functioning of language and a game of chess.’
Ferdinand de Saussure
Introduction
The idea of the subject of this dissertation is not accidental. The author is an
international master and a qualified coach in chess. For many years he was
a professional chess-player and a frequent participant in both domestic and international
tournaments. He is the author of a five chess books published in London and many
theoretical articles in different magazines, mainly in the Dutch magazine New in ChessYearbook, published in English. Many-year contact with chess, both as an experienced
player, a coach and a theoretician, have made the author an expert in typical chess
issues.
Other reasons include intellectual inquisitiveness of the author and his abilities in
systemic approach, analytical work and making syntheses rather than studying
literature. Therefore, even such an objectively difficult subject looked very attractive for
him, all the more that it was connected with his passion.
However, some doubts sometimes arose. For, what can two apparently different
things like chess and linguistics have in common? However, a chance event has
dispelled all doubts. When looking up a word ‘chess’ in Course In General Linguistics
by Ferdinand de Saussure the author found four passages devoted to the royal game.
The longest and most interesting, from which the motto of this dissertation comes, is
cited in chapter 2 p.33. Another fragment will be quoted below:
“Language is a system that has its own arrangement. Comparison with chess
will bring out the point. In chess, what is external can be separated relatively
easily from what is internal. The fact that the game passed from Persia to
Europe is external; against that, everything having to do with its system and
rules is internal. If I use ivory chessmen instead of wooden ones, the change
12
has no effect on the system, but if I decrease or increase the number of
chessmen, this change has a profound effect on the “grammar” of the game.
One must always distinguish between what is internal and what is external.
In each instance one can determine the nature of the phenomenon by
applying this rule: everything that changes the system in any way is
internal” (Saussure 1959:22-23).
If a man endowed with a genial intuition states that both chess and language are
systems which can be compared - there is no doubt that writing on chess from the
linguistic point of view poses a real challenge.
Studying the problem of connections between chess and linguistics the author will use
two different approaches: synchronic and diachronic. The former contains all issues
related to the use of typical chess terminology in general language and vice versa,
including metaphors, chess idioms, sayings, chess jargon etc. The author will analyse
linguistic phenomena connected with this, e.g. semantic change. The diachronic
approach contains etymological considerations, often considering the ways particular
words reached the discussed languages, old chess vocabulary (e.g. names of pieces) etc.
The study is generally restricted to four languages: English, Polish, German and
Russian, though, in some parts of the work (where suitable materials were available)
over ten languages will be compared in order to make some more general conclusions.
Sometimes even Sanskrit and Persian will be referred to due to the origin of chess. The
territory of research is not limited. The time is limited only by the date of the invention
of chess - 6th century.
The problem undertaken in this dissertation seems to be extremely interesting as
chess metaphors have existed in our culture for ages and this subject needs a more
systemic study both in English and Polish. Obviously, there is very large chess literature
about such aspects as opening theory, strategy, tactics, as well as history of chess,
psychology of chess, connections with chess and culture, chess encyclopaedias etc.
Nevertheless, in spite of the fact that the author has seen thousands of chess books, he
has never heard about a book on chess and linguistics. Indeed, there are some good
articles, written by specialists, about etymology of chess vocabulary, but materials
concerning a synchronic approach are scattered in different sources. Moreover, most
titles, are written for general public in order to popularize the royal game. Hence,
13
although they are really valuable, as they show chess in the deep cultural context, they
are not always careful about details and systematic approach at the cost of a great
number of pictures, illustrations and vivid language. Therefore, data taken from such
sources must be treated with due caution. The author hopes that his work will be the
first step in the development of research on this topic which will fill the existing gap.
Only this may be a good reason for writing this thesis.
The main method of the study was reading and juxtaposing different texts, analyzing
material from books, articles and different types of dictionaries: general, phraseological,
etymological, as well as individual talks and discussions. The material is divided into
small parts which will be analysed one after the other. As for the etymological research,
data accessible in reliable dictionaries will be presented as finding something new
would have required studies going far beyond the scope of this thesis. On the other
hand, everything that is connected with the synchronic approach, is a much more open
subject and gives a chance of discovering something new. Chess vocabulary is used in
general language figuratively. Therefore, the main question concerns the kind of
metaphors employed. The view of the world which they show is one of the most
important issues of this work. The subchapter about metaphors in the theoretical part of
this dissertation is one of the most crucial. The proposed hypothesis here is that
metaphors are connected with war and fight.
Another research issue is the comparison of particular languages. As said above we
will use substantially four languages: two Slavic and two Germanic. The next question
arises if there are any similarities in words, expressions etc. between them.
The first chapter of this dissertation presents the historical cultural background of
chess and its place in human life. It shows in short the connection between chess and
literature, film, music, politics, science. It also presents utterances about chess of
outstanding people and its educational values.
The second chapter contains the review of linguistic phenomena which will occur in
the third chapter. It starts with a brief history of linguistics including: schools of
linguistics, etymology, the shift of words from general language to special languages
and vice-versa, lexicalisation, jargon and figurative language.
The third chapter is the major piece of the thesis. It discusses chess terminology
using the methods and approaches given above.
14
Chapter 1 The History of Chess and its Cultural Background
Is chess worth writing books, treatises, theoretical analyses? Is it not a waste of time
when two people spend hours at the chessboard? These questions can be answered only
at the end of the dissertation. The first step to any conclusions must be a closer
acquaintance with the history of chess and its role in human culture.
1.1 A Brief History of Chess
As long as humankind has existed, people have needed quality entertainment. The
beginnings of some of them are hidden in the mist of time. However, followers of any
discipline usually care about a mysterious story connected with its invention, be it true
or false.
1.1.1 An Ancient Legend
Chess comes originally from India. There is an ancient legend connected with its
invention. A sage named Sissa Nassir came to the caliph and showed him a new game.
The caliph was so fascinated by it that he promised that he would give the sage
whatever he desired. The sage’s wish was apparently not very demanding. He wanted
only a number of seeds of wheat. ‘The chessboard has sixty four squares. Put one
wheaten seed on the first square, two on the second one, four on the third, eight on the
fourth and so on continuing to put as many seeds as is two to the power of the serial
number’ - said the sage to the caliph.
The caliph was extremely surprised as he did not expect such a modest wish. He
instructed his mathematicians to calculate the number of seeds. Unexpectedly that task
proved to be very difficult. For a few days they tried to establish the number, and finally
the caliph was presented with it. The amount of the wheat was as great as an 8-year
harvest from the whole production on the earth!
1.1.2 Early Stage
According to an English historian H. J. R. Murray a game called chatrang (the old name
of chess) arose in India in about AD 570, however, some other sources show that it
might have existed as early as in the 1st or 2nd century after Christ. Chatrang meant four
kinds of forces: infantry, cavalry, fighters on elephants and units of carriages of horses.
15
The chessboard was bigger than at present (9x9). There were only four pieces.
With merchants from India chess reached Persia, where rules were established for
the first time. They differed from the rules of today. Only a rook, a knight and a king
moved in the same way as at present. A pawn from an initial position could move only
one square forward and if promoted, it could be changed only into a queen. Aufin’s
(present bishop) moves were restricted to only three squares. The fer (present queen)
was the weakest piece on the board and could move only one square aslant. He won,
who took all opponent’s pieces. Then, after the Arabs had conquered Persia in 642,
chess spread throughout other countries.
1.1.3 Chess in Europe
At the turn of 8th and 9th centuries chess reached Europe: at first Spain, Italy and France,
afterwards Germany, England, Scandinavia and Russia. The development of chess has
not always been a bed of roses. Playing chess was forbidden in the 11 th century in
England, where king Henry I claimed a right to a monopoly, in France under Louis the
9th (1254) and in Russia when the Orthodox Church saw in chess traits of paganism.
The oldest chess book Repetitión de amores e arte de axedres con el iuegos de partido
by Luis Ramirez Lucena was published in 1497 in Spain (see Hooper 1984:195). Full
bloom of chess in Europe started in the 16th century, after a change in rules
implemented at the end of the 15th century. The game became much more dynamic,
attractive, with more possibilities to carry out a combination. The first famous masters
in Europe were: Ruy Lopez (a Spanish parish-priest, 16th century), Gioacchino Greco
(Italian, 17th century), François Philidor (French, 18th century) who is believed to have
been the father of a new approach to chess based on a solid strategy and not only
romantic attacks. He is also the author of a famous saying that “pawns are the soul of
the game”.
English and French schools dominated in the first part of 19th century: Louis Charles
De Labourdonnais, Alexander Mac Donnell, Howard Staunton, however, some strong
players from other lands appeared, e.g. Russians Carl Friedrich Andreyevich Jaenisch
and Alexander Dmitryevich Petrov.
After standardisation of chess laws, notation and shapes of chess pieces (chess
standard tournament sets have been called Staunton up to present day) Staunton
organised the first international chess tournament in London in 1851. Karl Ernst Adolf
Anderssen won and became the unofficial Master of Europe.
16
The second part of the 19th century was a time of domination of a genius American
Paul Charles Morphy, who overcame the best European chess-players in matches. His
fame became legendary. Unfortunately, he fell into a deep depression and died at
only 47.
1.1.4 Contemporary Chess
Modern chess started with official matches for world championship. The first world
champion was American Wilhelm Steinitz winning a match against Johannes Hermann
Zukertort (Jew of Polish origin). It was on 19th March 1886.
In the beginning, there were no clear rules. The prevailing champion had the right to
choose his opponent for the next match.
After the Cuban José Raúl Capablanca (believed to be a chess genius) became the
world champion in 1921, a potential pretender had to fund an appropriate sum of money
for prizes for both players which was discouraging enough (if not making impossible)
a challenge from a poor master. The third world champion of that time, worth
mentioning, is a Russian master Alexander Alexandrovich Alekhine who beat
Capablanca in 1927. He died in 1946 as the world champion.
After the World War II the organisation of the matches for world championship has
been led by FIDE (Fédération Internationale des Echecs Internationale), which is called
in English World Chess Federation. There were established precise rules for matches
and elimination tournaments. For over twenty years all champions were Russians. The
most famous are: Mikhail Moiseyevich Botvinnik, Mikhail Nekhemyevich Tal (world
champion in 1960-1961), genius of combinations, Tigran Vartanovich Petrosian (19631969), called iron Tigran. Dominance in chess was the light in Soviet Communist
Authorities’ eyes.
Only in 1972 the genius American chess-player Robert Fischer beat Boris
Vasilievich Spassky, after which he, for unknown reasons, did not play a game for
twenty years.
Next years gave the world two great masters: Anatoly Yevgenyevich Karpov and
Garry Kimovich Kasparov (he won the match against Karpov in 1985).
Kasparov has been probably the most prominent chess-player of all times. For many
years chess world could observe his fantastic dynamic games, full of tactical motifs.
Unfortunately, after he had lost his match against Vladimir Kramnik in 2000, he
withdrew from playing chess and began to deal with politics. The present world
17
champion is Viswanathan Anand.
1.1.5 History of Chess in Poland and Polish Contribution to Chess
On the grounds of some mentions in literature, it is assumed that chess reached Poland
in the 12th century in the reign of Bolesław Krzywousty. However, the issue if it got to
Poland by sea, from Russia or, as in a few other countries, was brought by the knights
returning from crusades, has not been established unambiguously. These three
hypotheses do not exclude one another and all of them may be true (Litmanowicz
1981:8).
Chess became popular in Poland in the 16th century when she was a powerful state.
Every knight was expected to be able to play chess. The game was popular on courts, in
castles, mansion-houses and monasteries. The most prominent Polish poet of that time
Jan Kochanowski wrote a beautiful poem called Chess. It is worth mentioning that the
inventor of algebraic notation (it is naming the files with letters a-h and the ranks with
numbers 1-8), are which commonly used today, was voivode (provincial governor) of
Poznań, memoirist and naturalist Jan Ostroróg (1561-1622). He was also the author of
the first Polish chess textbook Nauka o szachach, obszernie w polskim języku
przełożona z ksiąg Dumiana Portugalczyka, z uwagami Rui Lopeza, Hiszpana… ‘Chess
theory, translated at great length into Polish from books by Dumian, the Portuguese,
with Ruy Lopez’s remarks…’.
The most superb Polish players were: the abovementioned Johannes Zukertort,
Szymon Winawer, Hersh (Georg) Salwe, Miguel Najdorf, Saviely Tartakower, Dawid
Przepiórka and above all Akiba Rubinstein, who was undoubtedly one of the most
outstanding individuals in the history of chess. He won 21 chess tournaments and all the
matches he played. He won games with world champions (Emanuel Lasker, Jose Raul
Capablanca, Alexander Alekhine). After long negotiations he was to play a match for
world championship with Emanuel Lasker, but was unable to collect enough money to
cope with Lasker’s financial demands. Then the outbreak of the World War I crossed
his plans for ever.
The Polish team won gold medals in the Olympiad in Hamburg 1930, twice silver
medals in Prague 1931 and Buenos Aires 1939 and three times bronze medals in the
Hague 1928, Warsaw 1935, Stockholm 1937, La Valetta 1980 and Bled 2002 (women).
Poland has also outstanding achievements in junior contents, correspondence chess,
18
solving problems. Giving even a reduced list of them goes beyond the modest framework of this dissertation (see Witkowski 1974:7-14, Litmanowicz 1981 7-12, Czarnocki
1980:16-37, Filipowicz 2007:9-12 - the whole historical part).
1.2 An Outline of a Cultural Background
Since the dawn of time people have looked for various activities which combined both
the need for entertainment in their free time with the opportunity to achieve some
abilities of strategic thinking and intellectual competence, which were highly
appreciated by their communities. The skills of playing board games have undoubtedly
been important among higher classes in all civilisations throughout ages. Chess has
played a crucial role within all board games since it reached Europe.
In the 11th century chess became widespread in the Christian world in knight
communities in nearly all countries. In the late Middle Ages it obtained unusual
popularity among feudal elites and supplanted other board games. Chess was present
both at imperial courts, at magnates’ residences and knights’ castles. Both higher class,
well-born ladies and monks played chess. Playing chess was very popular in taverns and
inns, especially in England and France. They had signboard with chess emblems. This
custom has been preserved up to now (see Bubczyk 2005:7, Litmanowicz 1986:308).
Although there were a lot of social occupations in the Middle Ages, chess played a
special role, as it reflected the structure of the feudal society and political relations e.g.
by names of chessmen (king, queen, bishops, knights), rules of play etc. Hence, chess
examples were used even in sermons and philosophical lectures (see Bubczyk 2005:8,
Giżycki 1984:153). Such a metaphor can be found in one of Piotr Skarga’s homilies:
Chcesz widzieć jako na szachownicy króle, pany, żołnierze pyszno stoją, a wnet, gdy się
gra skończy, wszyscy się w króbce jako w kośnicy pomieszają “You want to see how
kings, lords, soldiers are standing proudly on the chessboard, and soon the game will
end and all will be mixed in a compartment like in a mortuary”. Gautier de Coincy
(1177 - 1236) presented an allegorical view of a game of chess between God and Satan
in a morality play Les Miracles de Nostre-Dame known in English as ‘The Miracles
of Notre Dame’ or ‘The Miracles of Our Lady’. Satan drove the chess piece,
symbolising man, into the corner of the chessboard in order to mate him, to punish him
for committing the original sin. Then God created a piece Fers, and it was the Blessed
Virgin, it is the queen in chess and He beat Satan. It is worth mentioning that in the
French original it is a play on words fierce (the name of the piece) and vierge ‘virgin’
19
(see Giżycki 1984:153, Wikipedia entry: Gautier de Coincy).
For ages chess has been deeply present in various fields of culture, especially in art.
1.2.1 Literature and Chess
Connections between literature and chess are not restricted to treatises on chess theory,
which were mentioned in the historical part. A lot of men of letter have been chess
passionates and devoted their works to chess or inserted chess themes in them. The
following names can be mentioned here: Dante Alighieri, Miguel de Cervantes, William
Shakespeare3, William Jones, Walter Scott, Charles Dickens, Joseph Conrad, Herbert
Wells, Alexander Sergeyevich Pushkin, Mikhail Yuryevich Lermontov, Ivan
Turgieniev, Ivan Sergeyevich Turgenev, Jan Kochanowski, Łukasz Górnicki, Ignacy
Krasicki, Adam Mickiewicz, Bolesław Prus, Henryk Sienkiewicz, Melchior
Wańkowicz, Jerzy Putrament4 (see Litmanowicz 1987:904). Some of them are the
authors of very apt or cutting aphorisms e.g.: There are two kinds of people: one are
prone to submit to circumstances - these play whist, the others desire to control
circumstances - those play chess - Mortimer Collins, Ten murders include as many
crimes as one game of chess - Arthur Conan Doyle (see Litmanowicz 1983:20,
translation mine). The latter sentence by the most known writer of detective stories in
the world shows his deep understanding of nature of chess as a ruthless fight. Some one
added aptly what kind of fight may be chess Gra w szachy jest walką, głównie atoli
przeciw własnym błędom ‘Playing chess is a fight, howbeit, mainly against your own
errors’ (see Giżycki 1984:111). Johann Wolfgang von Goethe’s utterance Chess is
a touchstone of intelligence reflects well on his appreciation of the royal game, as well.
There are a lot of novels and short stories written by outstanding writes, in which
chess-players are main characters and chess motifs play an important role e.g. Anastasia
und das Schachspiel ‘Anastasia and Chess’ by Wilhelm Heinse, Szachista ‘The Chessplayer’ by Waldemar Łysiak, Schachnovelle ‘Chess Story’ by Stefan Zweig, Partia
szachów ‘A Game of Chess’ by Jan Parandowski, Szachy ‘Chess’ by Sławomir Mrożek
(see Litmanowicz 1987:981-982, Wikipedia, entries: Wilhelm Heinse, Stefan Zweig).
However, the genre which has the closest connection with chess is a detective
story/novel. This may be due to the fact that the structure of a detective conflict and
3
Edward Winter’s article “Chess and Shakespeare” presents chess themes in works by the best
playwright of all time.
4
Putrament was the chairman of the Polish Chess Federation in 1954-1957 and 1963-1973.
20
a chess problem may be similar. Hence, the ways of solution to a crime riddle may
resemble a chess problem where the pieces set up on the chessboard gradually and with
iron logic are uncovering a stunning, unexpected but precisely prepared ending. In
many novels chess is interwoven with the main plot. Sometimes a position on the
chessboard contributes to unmask the criminal. The following works can serve as
examples: The Black Knight by Raymund Allen, The Bishop Murder by S. S. Van Dine,
Czarny koń zabija nocą ‘The Black Knight kills at Night’ by Jacek Roy (see
Litmanowicz 1986:481-482). The recently-published novel Zugzwang by the Irish
writer Ronan Bennett deserves serious attention. It will be discussed in chapter 3 p. 149.
Chess has also been a charming subject for a great number of poems. Scacchia ludus
‘Chess’ by Marco Girolamo Vida (1485-1566) and Szachy ‘Chess’ by Jan Kochanowski
(1530-1584) will often be mentioned in this thesis. The former is a description of
a game of chess played between Apollo and Mercury on Jupiter’s demand. The latter,
on the other hand, presents a duel between Fiedor and Borzuj, two strangers from Slav
lands, for the Danish princess Ann’s hand in marriage.
1.2.2 Film
Some of abovementioned novels have been adapted to the screen e.g. Zweig’s Chess
Story directed by G. Oswald (1960). Other films deserve attention: Russian grotesque
Шахматная горячка ‘Chess Fever’ (1925), a feature-length psychological drama
Гроссмейстер ‘Grandmaster’ directed by S. Mikaelian (1973) and Swedish Det sjunde
inseglet ‘The Seventh Seal’ directed by Ingmar Bergman. The last film is one of the
best Bergman’s productions. It is based on the motif of an unusual game of chess played
between the death and a knight coming back from a crusade. It won a special jury prize
and was awarded the Silver Palm at Cannes (see Litmanowicz 1986:42, 254,
Litmanowicz 1987:1182, Wikipedia, entry: Ingmar Bergman).
1.2.3 Music
There are a few music works connected with chess: a comic opera La magicienne
‘A woman magician’ by Jacques-François-Fromental-Élie Halévy (1858), a balletpantomime Checkmate by the English composer Arthur Bliss (1937), an opera Das
Schachturnier ‘The Chess Tournament’ by Traugott Maximilian Eberwein. However,
many outstanding players have been musicians, e.g. Philidor wrote twenty three operas,
the Russian grandmaster Mark Taimanov gave piano concerts, and an ex-world
21
champion Vasily Vasilyevich Smyslov was a first-class singer. There have been many
composers who played chess e.g.: Richard Strauss, Ignacy Paderewski, Felix
Mendelssohn Bartholdy and the greatest among the greatest: Ludvig van Beethoven and
Frederic Chopin. Some of them e.g. Ernest Irving found some resemblances between
chess musical imagination and thinking and looked for connections between musical
and chess memory (e.g. in playing blindfold) and drew a conclusion that their structures
are similar5 (see Litmanowicz 1986:751-752, Hooper 1984:219).
1.2.4 Painting
A great number of outstanding painters have recorded in their painting genre scenes
with chess, famous chess-players (e.g. Em. Lasker or J.R. Capablanka) or eminent
people playing chess (e.g. W. Shakespeare), or used chess as a symbol, metaphor. The
examples of painters who have taken up chess issues are: Paris Bordone, Ferdinand
Delacroix, Jan Matejko. Matejko enjoyed playing chess. In his painting Rzeczpospolita
Babińska ‘Republic of Babin’ he presented the young Jan Kochanowski at a chess game
with a writer Marcin Bielski. (see Litmanowicz 1986:557-558, 574).
Marcel Duchamp (1887-1998), the French Dadaist, was a fanatical chess-player. He
had a master title, played in international tournaments including French Chess
Championships (oncehe took the fourth place) and in four Chess Olymliads. He was
also a chess theoretician. In co-operation with Vitaly Halberstadt he published a treatise
L'opposition et cases conjuguées sont réconciliées ‘Opposition and Sister Squares are
Reconciled’. Chess was also the subject of his painting e.g. Portrait de joueurs d'echecs
‘Portrait of Chess Players’ (1911). His saying “While all artists are not chess players, all
chess players are artists” is commonly known.
There is an intrigue painting in the Jesuit Retreat House in Czechowice-Dziedzice.
Two chess-players are at the game. One of them, playing with black chessmen, is
extremely self-confident. He is looking at the chessboard with an ironically smirk. His
pieces look like small repugnant monsters. There is a lion beside him which is laying its
paw on a human skull. This resembles the words of the Scripture “your adversary the
5
Although the author is only a graduate of a primary music school, he has some experience and
reflections on this matter. Sometimes chess-lovers ask how a chess-player is able to correctly memorise
a game he played. They do not understand that a game is not a series of moves made at random. In no
case does remembering it resemble memorising a series of numbers drawn. A chess game played by
masters always has its own logic, its own ‘melody’. Moves are like particular sounds. However, not
everybody can hear it. Similarly, not everyone understands the beauty of classical music. Hence, the
mechanisms of remembering a chess game are similar to memorising a piece of music.
22
devil, as a roaring lion, walketh about, seeking whom he may devour (1P 5:8, KJVB).
His opponent is a young man with a bag, wearing modest clothes. He is lost in
thought, focused on the game. He is playing with white pieces which are depicting
angels. However, the advantage of black monsters is considerable. A black spider is
crawling towards the man and an angel is watching the game from a distance.
The painting is an allegorical vision of the inner fight in human soul, the eternal
struggle between good and evil (see http://mateusz.pl/ksiazki/ja-cd/ja-cd-123.htm).
1.2.5 Politics
As mentioned earlier, chess was very popular on royal courts. Since time immemorial
kings and emperors had been interested in chess, which was of great importance for the
development and spread of the game (see Litmanowicz 1986:480).
Charles the Great, king of the Franks, is commonly believed to have played chess. In
the oldest major work of French literature Chanson de Roland ‘The Song of Roland’
there is even a mention about him and his knight playing draughts and chess. In
numerous anecdotes he is shown as a keen chess-player. However, more thorough
historical research has proved that he rather did not show interest in chess6. Chess
admirers were English king King John of England called Lackland (reigned between
1119-1216), Alfonso X, king of Castile (13th century). The latter was not only a chessplayer but also a historian, patron and popularizer of chess. Other chess lovers were the
Mongolian ruler Timur (14th century) and tsar of Russia Ivan IV Vasilyevich known as
Ivan the Terrible. Ivan IV died playing chess in 15847. Worth mentioning are also
Queen Elisabeth I, Tsar Peter I, kings of Poland Batory and Jan III Sobieski (see
Giżycki 1984:199-202).
Some presidents and politicians have been chess-players: Thomas Jefferson, Charles
Maurice de Talleyrand, Józef Piłsudski, Valéry Giscard d’Estaing (see Litmanowicz
1986:928).
1.2.6 Popes
A few popes were keen on chess. Pope Innocent III (about 1160-1216) devotes much
room to chess in his Innocent Morality8. Chess was a baseline for similes concerning
6
Litmanowicz (1986:480) does not share this opinion.
Wikipedia (entry: Ivan IV of Russia), not denying this fact, mentions that he was probably poisoned.
8
Hooper (1984:151) attributes the authorship of the work to an English friar John of Wales. Nevertheless,
7
23
life, death, morality and ethics in the spirit of medieval chess moralities. It is worth
mentioning that chess moralities had a large influence on using chess metaphors in
everyday’s speech (proverbs, similes, idioms) and on literature and arts (see
Litmanowicz 1986:375, 740).
Popes Leo X (1475-1521) and Leo XIII (1810 - 1903) were chess enthusiasts. Leo X
was a patron of the arts, sciences and literature. He sponsored the artistic work of M.
Vida, the author of the chess poem Scacchia ludus (see Litmanowicz 1986:513).
Pope John Paul II (1920-2005) was the member of Krakowski Klub Szachistów
‘Cracow Club of Chess-players’ in his youth. He had second chess category, played in
chess tournaments and composed a lot of chess problems. One of his two-movers,
composed in 1946 is shown below:
XABCDEFGHY
8-vLlvlR+-+(
7+nzpk+-+-'
6-+-+Rzp-+&
5+P+K+-+-%
4-+NwQP+-+$
3+-+-+-+-#
2-+-+-+-+"
1+-+-+-+-!
xabcdefghy
1.Qa7.f5 [1...c6+ 2.bxc6#; 1...c5 2.bxc6#; 1...Be7 2.R6xe7#; 1...Nd6 2.Nb6#; 1...Na5
2.Nb6#] 2.Ne5#
(see Ładoś http://www.lados.info/szachy_kksz.php, Mleczko 2008).
1.2.7 Science
A lot of scientists have been fascinated by chess e.g.: G. Cardano, I. Newton,
G. Leibnitz, M. Lomonosov, D. Mendeleyev, A. Einstein (see Litmanowicz 1987:1284).
There are a lot of mathematicians in this group. The type of thinking of a chess-player
and a mathematician seem to be similar, though there are some differences. A
mathematical task needs thorough research whereas in chess the most important thing is
he confirms that it “also appears in a manuscript collection of the sermons of Pope Innocent III”.
Litmanowicz (1986:740) also mentions this Welsh monk.
24
to establish the best move or the series of moves. Chess examples and terms are present
in cybernetics, theory of games, graph theory, computing, number theory,
combinatorics. There are some mathematical tasks connected with chess. Two of them
are most popular: 1) how many queens can we set up on the chessboard so that none of
them can attack any of the others; 2) how to go with a knight throughout all the
chessboard being only once on each square. One of the solutions of the first task is
shown below.
XABCDEFGHY
8-+Q+-+-m+(
7+-+-mQ-+-'
6-wQ-+-+-+&
5+-+-+-+Q%
4Q+-+-+-+$
3+-+-+-wQ-#
2-+-wQ-+-+"
1+-+-+Q+-!
xabcdefghy
We could draw a conclusion that chess has often been an inspiration in different
branches of mathematics.
The French mathematician Henri Poincaré stated in his work La science et
l’hypothèse that mathematics could not be helpful in building the theory of playing
chess as the run of a chess game could not be expressed by mathematical functions.
Nevertheless, present-day chess programs play chess as strong as the best grandmasters
(Карпов 1990:237-238, Litmanowicz 1986:574 - the whole issue science). It is
interesting from the philosophical and cognitive point of view if Poincaré’s opinion is
correct. This, however, would need a consultation with some specialists.
1.2.8 Education
As mentioned in the historical part, chess was banned by the authorities of various
religious denominations. There were three basic reasons for it: 1) chess was treated as
a gambling game like dice; 2) it was regarded as a waste of time at the cost of work and
prayer; 3) chess was discerned to be a kind of a harmful bad habit. Even such an
25
authority as saint Bernard of Clairvaux ordered the Knights of the Temple of Solomon
in their monastic rule (in 1128) to find chess playing repulsive. The approach of the
Catholic Church changed in the Renaissance when a lot of authors of chess treatises and
literary works connected with chess were representatives of clergy e.g.: parish priest
Ruy Lopez, bishop Vida, curate G. A. MacDonnell. One of the greatest Carmelite
mystics Saint Teresa of Avilla (1515-1582) liked playing chess in her childhood. In one
of her main writings The Way of Perfection she sometimes uses chess metaphor9
describing spiritual matters. In 1944 the Church authorities proclaimed her the patron of
Spanish chess-players (see Litmanowicz 1987:1016-1017, 1233).
What caused such a turnabout? Not only did chess find outstanding protectors but
also its unquestionable educational values were discovered. Litmanowicz (1987:1341)
notices that playing chess strengthens such features of personality as: power of
concentration, ability of analysis and deduction, stimulation of imagination, patience,
independence in making decisions, efficiency in planning and conducting operations
which require using strategy and tactics, practicing memory. A chess-player must be
mentally resistant and fair.
Benjamin Franklin wrote a short treatise on chess educational values entitled
The Morales of Chess10. The following praise of chess is at the very beginning of it:
“The Game of Chess is not merely an idle amusement; several very valuable
qualities of the mind, useful in the course of human life, are to be acquired
and strengthened by it, so as to become habits ready on all occasions, for
life is a kind of Chess, in which we have often points to gain, and
competitors or adversaries to contend with, and in which there is a vast
variety of good and ill events that are, in some degree, the effect of
prudence, or the want of it.”
Franklin continues that “by playing at chess, then, we may learn”: foresight,
circumspection, and caution, describing in detail particular mechanisms.
Some utterances of Polish outstanding writers deserve attention, as well. Bolesław
Prus in his considerations says (after Giżycki 1984:112, translation mine):
9
This issue will be discussed in the subchapter 2.6.2.2.
Some sources entitle it The Morals of Chess. Also the date of writing is given from 1750 till 1779.
10
26
“Life game resembles a chess game. However, power in chess constitute
pieces: king, queen, rook, knight whereas in life pieces are: work,
perseverance, attention, firmness, ability.
If in a game of chess either side wants to win - similarly in life people or
nations also want to win. But what? They really want to physical and
spiritual improvement. It means that they desire to still increase their ability
to work, their knowledge, health, agility, kindness of other people or
nations, wealth, honesty, dignity etc. This is the fundamental goal of life
victory...”
Polish literature has an even earlier mention about chess. In his didactic work
Dworzanin (published for the first time in 1566) Łukasz Górnicki described chess as
[gra] jest czysta a rozumu bystrego zabawa ‘[the game] is fair and it is a play for
a sharp mind’.
In the weekly column of ‘Kurier Codzienny’ (1900) Prus published an article entitled
Pochwała szachów ‘The Praise of Chess’ where the following instructive statements are
comprised: “each [chess] piece has its denoted characteristics, hence, also (...) any piece
in the society, i.e. each man should have their own distinct character”, “strict morality
should apply to both opponents in chess and partners in life” (see Giżycki 1984:113,
translations mine).
Saint Maximilian Kolbe and Blessed Bronisław Markiewicz played chess with young
people and appreciated its educational values. Father Markiewicz established day rooms
with chess sets in order to draw young people away from drunkenness (see Mleczko
2008). When leading a retreat in Niepokalanów-Laski in November 2004 Father
Stanisław Piętka noticed that Saint Maximilian had felt very well the spirit of fight. He
was a man fighting over the truth, values, fulfilment of God’s will. Saint Maximilian
thought that sportsmen should not have mercy on their opponents. The better competitor
should win.
1.2.9 What is Chess?
Having analysed the roles of chess in particular branches of human life and some
utterances about chess given by famous people we can ask a fundamental question:
“What is chess?”. For some people it is a boring, incomprehensible club game, for
27
others it is a sport or terrible, murderous fight, for others more a kind of art or even
a philosophy of life, and last of all for the people having the most exact minds knowledge. What is chess then? Must this question be left unanswered?
Chess consists of a great number of the abovementioned elements.
1.2.9.1 Chess as Knowledge
Chess is undoubtedly knowledge. There exist really huge chess libraries and a great
number chess periodicals. The chess books consider: all stages of games (they will be
discussed later), strategic and tactical problems, history of chess, tournament books,
announced games, presentations of great chess-players etc. Some opening variations are
analysed up to over the 30th move! The same situation is with typical endings. There are
vast encyclopaedias of chess endings both in the form of books and the parts of
computer programs (chess bases and analysing programs). In the era of computers when
analysing programs are beginning to be better than world’s top players, this knowledge
is really imposing and still developing. It is huge enough to a subject of a few-year
studies with many particular branches of interest.
Chess-players who treat chess as knowledge are usually types of analysts.
2.6 Chess as Art
Let us repeat Duchamp’s saying “all chess players are artists”. Chess has also its
aesthetic aspect. Nevertheless, beauty in chess is somehow hidden. Unlike a brilliant
goal of football after an effective action or a strong spike in volleyball, a beauty of
a subtle combination, an exquisite move, a cunning trap, a logical, difficult to predict
sequence of moves is impossible to be appreciated by an ordinary man. He will be even
not able to notice it. To recognise it one must be at least at an intermediate level.
Some chess-players have the soul of and artist in a special degree. A typical chess
artist wants not only to win but also to create a piece of art (see Filipowicz 2001).
Chess-players with this kind of attitude are real artists and sometimes can play
“immortal” games, however, as they are too sensitive and vulnerable, they usually do
not achieve great successes.
2.7 Chess as a Sport
Throughout his life the author has been able to hear many times people being astonished
that chess is treated as a sport. The key argument was always one - no physical effort.
28
However, this kind of point can be proved only by a person who has never played
a tournament game of chess. Five-eight hours of intense thinking makes often a chessplayer exhausted. Chess has all typical features of sport: it is a competitive game, there
are tournaments and matches including world championship, the best players work with
their teams (coaches, analysts, psychologists, computer-specialists, huge data bases
etc.).
Over the last 20-30 years chess on the top level has gradually been getting more and
more of a sport. This process has been resulted from the development of computer
science, which forced to play the whole game without adjournment. This caused
shortening of timing and less time to consider means more stress. Consequently
objective calculation is becoming less important than strong power of concentration,
psychical resistance and other typical sports features.
Chess-players who treat chess above all as a sport are very competitive persons and
usually typical fighters. They always strive after a victory. Most of world top players
treat chess in this way.
The outstanding artist and chess-player Marcel Duchamp understood the nature of
chess very well:
“Chess is a sport. A violent sport. This detracts from its most artistic
connections. One intriguing aspect of the game that does not imply artistic
connotations is the geometrical patterns and variations of the actual set-up
of the pieces in the combinative, tactical, strategical and positional sense. It
is a sad means of expression though - somewhat like religious art - it is not
very gay. If it is anything, it is a struggle.”
29
Chapter 2 Linguistic Considerations
The chapter contains the theoretical discussion on the main linguistic issues which will
be used in the practical part, in particular school of linguistics, etymology, variants of
language and figurative language.
2.1 A Brief History of Linguistics
Linguistics is the study of language. However, in order to understand what it really is it
is necessary to define the subject it deals with. We must be aware that, similarly to other
fields of liberal arts, the most basic notions are often understood and defined in various
ways. Obviously, it does not mean that they refer to completely different things. They
simply emphasise diverse aspects of the same problem and consequently focus their
research on it. Let us compare definitions of language by two famous linguists given in
(Crystal 1987:396):
“‘Language
is
a
purely
human
and
non-instinctive
method
of
communicating ideas, emotions and desires by means of voluntarily
produced symbols’ (E. Sapir, 1921.)
‘A language is ‘a set (finite or infinite) of sentences, each finite in length
and constructed out of a finite set of elements’. (A. N. Chomsky, 1957.)”
As it is visible, Sapir’s definition stresses communicative aspects whereas
Chomsky’s looks rather like a mathematical construction.
Man has been interested in linguistics since ancient times as early as he was capable
of a reflection on himself and the surrounding world. Linguistics achieved such a high
level in Ancient India with the peak in the 4th and 5th centuries BC that Europe was able
to equal only at the beginning of the 19th century. However, until the 3rd century BC all
the knowledge had been handed down only orally. Pānini (4th century BC) was the
author of the first book on grammar. It is amazing that a great number of terms existing
in contemporary linguistics, especially phonetics, were known at that time (see Heinz
1978:19-25).
In Ancient Greece the first linguistic treatise was a debate on the pages of Platon’s
(c. 427-347 BC) philosophical dialogue Cratylus. It was devoted to the origin and the
30
nature of meaning, whether it is conventional or natural. The latter position suggests its
divine origin and implies that words can be used as a tool for cognition of reality.
However, Aristotle (384-322 BC), supported the former stand. Then, two philosophical
schools of conventionalists and naturalists came into existence. In the 3rd century BC
the Stoics developed grammar, grouping words into parts of speech, describing
paradigms of inflection etc. (see Heinz 1978:29, Crystal 1987:404).
The ancient Romans introduced a speculative approach and worked on Latin
grammar using Greek terminology. The most significant period was the turn of
millennia when Marcus Terrentius Varro (116-27 BC) codified Latin grammar in his
twenty-six-volume work De lingua latina ‘On the Latin Language’ and the most
outstanding orators: Cicero (106-43 BC) and Quintilian (c.35-c.100) lived and spoke
publicly (see Crystal 1987:405).
Medieval learning was based on seven Liberal Arts which were divided into two
groups: the Trivium which contained grammar, dialectic or logic and rhetoric, and the
Quadrivium with geometry, arithmetic, astronomy, and music (see Crystal 1987:406,
Wikipedia, entry ‘Liberal Arts’).
However, the most interesting from the point of view of this thesis are the major
linguistic approaches in the 19th and 20th centuries.
2.1.1 Neogrammarians
The Neogrammarians were a group of linguists from the University of Leipzig. They
proposed the hypothesis of regularity of sound change. They thought that this process
was autonomous and dependent on the environment of a sound. Description of historical
change was one of the most characteristic features of their approach. Studying Sanskrit
and other related languages they developed a method called comparative grammar. The
main work was Karl Brugmann’s five-volume Grundriss der vergleichenden
Grammatik der indogermanischen Sprachen ‘Elements of the Comparative Grammar of
the Indo-Germanic Languages’ (see Wikipedia: entry ‘Neogrammarians’, Crystal
1987:329).
2.1.2 Structuralism
Structuralism is an approach which analyses a specific issue as a complex system and
tries to find mutual relations between particular parts of it. The founder of structuralism
in linguistics was the Swiss scholar Ferdinand Mongin de Saussure whose views were
31
expounded in his main work Course in General Linguistics11. He treated language as
a system of opposing or complementary elements (e.g. speech and language, diachronic
and synchronic approach, systematic and paradigmatic relations, lague and parole,
external and internal linguistics) and tried to find relations between their different
elements in the present. Such an approach was directly opposite to that of the
Neogrammarians (see Wikipedia, entry: structuralism).
2.1.3 Diachronic and Synchronic Approach
The words diachronic and synchronic are of Greek origin and mean ‘through/across
time’ and ‘together time’, respectively. The terms were coined by Ferdinand de
Saussure. “A diachronic approach to the study of a language (or languages) involves an
examination of its origins, development, history and change. In contrast, the synchronic
approach entails the study of a linguistic system in a particular state, without reference
to time. The importance of a synchronic approach to an understanding of language lies
in the fact that for Saussure each sign has no properties other than specific relational
ones which define it within its own synchronic system” (Cuddon 1999:217).
In the introduction to Saussure (2002:15) Kazimierz Polański suggests that the
abovementioned terms resemble some ideas of the German philosopher and language
theoretician Wilhelm von Humboldt. In fact, although his ideas are not as largely
developed and proved, they look absolutely the same. In the writing O językoznawstwie
porównawczym w odniesieniu do różnych epok rozwoju języka12 “About Comparative
Linguistics with Reference to Different Epochs of Language Development” dated to
29th June 1820, it is 37 years before Saussure was born, Humboldt distinguishes two
branches of comparative linguistics: language organism (in the original: Organismus
der Sprache) research and research of languages in the process of their development. He
explains these terms in the similar way to the words diachronic and synchronic in the
paragraph above (see Humboldt 2002:206-207).
Let us return to Ferdinand de Saussure, called the father of contemporary linguistics.
11
F. Saussure never wanted to write a book. He neither left any systematic notes from his lectures nor
even their plans. Two his friends: Charles Bally and Albert Sechehaye worked out and edited the book,
which was published first in 1916, three years after Saussure’s death (Kazimierz Polański, introduction to
Saussure 2002:7).
12
The original title is Über das vergleichende Sprachstudium in Beziehung auf die verschiedenen
Epochen der Sprachentwicklung. The author was able only to use the Polish text except for a small
dictionary of philosophical terminology by the translator Elżbieta Kowalska attached to the book.
32
The extensive fragment of his work cited below is both an outstanding study of
a comparative analysis and an elevation, and an appreciation of chess.
“But of all comparisons that might be imagined, the most fruitful is the
one that might be drawn between the functioning of language and a game of
chess. In both instances we are confronted with a system of values and their
observable modifications. A game of chess is like an artificial realization of
what language offers in a natural form.
Let us examine the matter more carefully.
First, a state of the set of chessmen corresponds closely to a state of
language. The respective value of the pieces depends on their position on
the chessboard just as each linguistic term derives its value from its
opposition to all the other terms.
In the second place, the system is always momentary; it varies from one
position to the next. It is also true that values depend above all else on an
unchangeable convention, the set of rules that exists before a game begins
and persists after each move. Rules that are agreed upon once and for all
exist in language too; they are the constant principles of semiology.
Finally, to pass from one state of equilibrium to the next, or - according
to our terminology - from one synchrony to the next, only one chesspiece
has to be moved; there is no general rummage. Here we have the
counterpart of the diachronic phenomenon with all its peculiarities. In fact:
(a) In each play only one chesspiece is moved; in the same way in language,
changes affect only isolated elements.
(b) In spite of that, the move has a repercussion on the whole system; it is
impossible for the player to foresee exactly the extent of the effect.
Resulting changes of value will be, according to the circumstances, either
nil, very serious, or of average importance. A certain move can
revolutionize the whole game and even affect pieces that are not
immediately involved. We have just seen that exactly the same holds for
language.
(c) In chess, each move is absolutely distinct from the preceding and the
subsequent equilibrium. The change effected belongs to neither state: only
states matter.
33
In a game of chess any particular position has the unique characteristic of
being freed from all antecedent positions; the route used in arriving there
makes absolutely no difference; one who has followed the entire match has
no advantage over the curious party who comes up at a critical moment to
inspect the state of the game ; to describe this arrangement, it is perfectly
useless to recall what had just happened ten seconds previously. All this is
equally applicable to language and sharpens the radical distinction between
diachrony and synchrony. Speaking operates only on a language- state, and
the changes that intervene between states have no place in either state.
At only one point is the comparison weak: the chessplayer intends to
bring about a shift and thereby to exert an action on the system, whereas
language premeditates nothing. The pieces of language are shifted - or
rather modified- spontaneously and fortuitously. The umlaut of Hände for
hanti and Gäste for gasti (see p. 83) produced a new system for forming the
plural but also gave rise to verbal forms like trägt from tragit, etc. In order
to make the game of chess seem at every point like the functioning of
language, we would have to imagine an unconscious or unintelligent player.
This sole difference, however, makes the comparison even more instructive
by showing the absolute necessity of making a distinction between the two
classes of phenomena in linguistics. For if diachronic facts cannot be
reduced to the synchronic system which they condition when the change is
intentional, all the more will they resist when they set a blind force against
the organization of a system of signs” (Saussure 1959:88-89).
2.1.4 Generativism
The conception of generative grammar is connected with syntax, but it later developed
into a theory of phonology and morphology. It was initiated by the American linguists
Noam Avram Chomsky at the turn of the 1950s and 1960s. “Early versions of
Chomsky’s theory were called transformational grammar, and this term is still used as a
collective term that includes his subsequent theories” (Wikipedia, entry Generative
grammar). This new approach is a set of rules expressed in a formalised mathematical
language. The rules can establish which combinations of words can form grammatical
sentences. He distinguishes ‘surface’ and ‘deep’ levels of grammatical structure.
Although such an attitude makes a language a systematic structure, it has some
34
disadvantages, as it reduces it to an abstract phenomenon, which can be manipulated.
Krzeszowski regards reductionism as a characteristic feature of traditional linguistics
(see Wikipedia, entry Generative grammar, Krzeszowski, introduction in Lakoff
1988:10-12, Crystal 1987:409).
2.1.5. Cognitive Grammar and Cognitive Linguistics
Cognitive grammar is a language theory which has been developed since the mid 1970s
by Ronald Langacker. What is interesting, it was originally called ‘space
grammar’13which is likely an allusion to characteristic diagrams. Taylor (2007:3-4)
distinguishes between cognitive grammar and cognitive linguistics.
The term cognitive linguistics is regarded as a quite wide current in contemporary
linguistics which includes many various approaches, methodologies and tendencies
which have some common assumptions. The main is that language constitutes an
integral part of human cognition and every thorough analysis of linguistic phenomena
should be conducted in the context of the knowledge of human cognitive abilities.
Cognitive grammar is a name of one specific theory belonging to the broader trend of
cognitive linguistics.
“Cognitive linguists deny that the mind has any module for language-acquisition that
is unique and autonomous. This stands in contrast to the work done in the field of
generative grammar. Although cognitive linguists do not necessarily deny that part of
the human linguistic ability is innate, they deny that it is separate from the rest of
cognition. Thus, they argue that knowledge of linguistic phenomena - i.e. phonemes,
morphemes, and syntax - is essentially conceptual in nature. Moreover, they argue that
the storage and retrieval of linguistic data is not significantly different from the storage
and retrieval of other knowledge, and use of language in understanding employs similar
cognitive abilities as used in other non-linguistic tasks” (Wikipedia, entry: cognitive
linguistics).
Although generative and cognitive grammar are often juxtaposed, Taylor (2007:7)
states that it is Chomsky who was the initiator of the cognitive trend. Chomsky’s later
works have some biological-psychological aspect. He states that grammar must be in
the minds of users of a language. People are born with a project of a language called
‘Universal Grammar’. They inherit it genetically.
13
Langacker’s doctoral dissertation was entitled Space grammar, analyzability, and the English passive.
35
2.2 Etymology
Etymology is one of the most fascinating and entangled fields in linguistics. The word
etymology comes from the Greek ἔτυμον ‘truth’ and λογία ‘study’ from λόγος ‘speech,
word’. When we discuss this word, we must go back to the Old Greek tradition.
Etymology was the study on a true, basic meaning of a word. This interest was
connected with the philosophical dispute over natural or conventional character of
language. As it was mentioned in subchapter 2.1, natural theory supporters claimed that
there was a natural connection between words and things. Hence, the words denoted the
essence of the things. They tried to come down all words to the forms where these
connections were visible i.e. onomatopoeias. However, the juxtapositions proposed
were very naive from the point of view of contemporary knowledge (see Polański
2003:147).
The pioneers of etymology were seventeenth-century researchers such as Marcus
Zuerius van Boxhorn, Vossius, Stephen Skinner, Elisha Coles or William Wotton.
However, “the first known systematic attempt to prove the relationship between two
languages on the basis of similarity of grammar and lexicon was made by the Hungarian
János Sajnovics in 1770, when he attempted to demonstrate the relationship between
Sami and Hungarian (work that was later extended to the whole Finno-Ugric language
family in 1799 by his fellow countryman Samuel Gyarmathi). The origin of modern
historical linguistics is often traced back to Sir William Jones, an English philologist
living in India who in 1782 observed the genetic relationship between Sanskrit, Greek
and Latin. Jones published his The Sanscrit Language in 1786, laying the foundation for
the field of Indo-European linguistics” (Wikipedia, entry: Etymology).
In modern linguistics etymology is a part of lexicology dealing with the derivations
and the original meanings of words. Etymological research is based on comparative
grammar of related languages, knowledge about phonetic, inflection and wordformation processes, and knowledge about material and spiritual culture of a nation.
The investigations into etymology allow to deepen our knowledge and understanding of
history and the culture of a nation since the view of the world, knowledge about reality
and the way of its experience are ‘hidden’ in the language (see Płóciennik 2006:68).
“Etymologists apply a number of methods to study the origins of words, some of
which include:

Philological research. Changes in the form and meaning of the word can be
traced with the aid of older texts, if such are available.
36

Making use of dialectological data. The form or meaning of the word might
show variation between dialects, which may yield clues of its earlier history.

The comparative method. By a systematic comparison of related languages,
etymologists can detect which words derive from their common ancestor
language and which were instead later borrowed from another language.

The study of semantic change. Etymologists often have to make hypotheses
about changes of meaning of particular words. Such hypotheses are tested
against the general knowledge of semantic shifts. For example, the assumption
of a particular change of meaning can be substantiated by showing that the same
type of change has occurred in many other languages as well” (Wikipedia, entry:
etymology).
2.2.1 Actual, Structural and Etymological Meaning of Words
Each word has its actual, structural and etymological meaning. The actual meaning is
what a word exactly means in a contemporary language whereas the structural meaning
assumes a morphological analysis of the word. The etymological meaning is
reconstructed on the basis of its original form. Sometimes the three forms or two of
them may be the same.
The structural meaning can be guessed from the morphological structure of a word.
Hence, unmotivated words do not have this meaning. Analysing the word shorten one
can anticipate that it means become shorter or make something shorter since adding the
suffix -en is a typical way of forming verbs from adjectives. Analogically, śpiewak
‘singer’ is somebody who sings, and malarz ‘painter’ someone who paints. Both pairs
are easily analysable both in Polish and English as they have typical suffixes for people
performing different things (see Podlawska 2002:138). Similarly, in Polish, the endings
-ek, -ka, -ko give words diminutive or even tender meaning. Hence, words such as
wujek ‘uncle’, książeczka ‘book’, okienko ‘window’ (all diminutive forms) should be
understood if a person knows the words wuj, książka, okno (see Bąk 2004:129-130).
The etymological meaning can coincide with the actual meaning like in the example
above or have no connection with it, e.g. miednica ‘basin’ used to mean ‘a vessel made
out of copper’, rzewny ‘wistful’ comes from the old verb rzwieć ‘roar’ (see Podlawska
2002:137-138).
However, the things are not always so simple. Although most words usually sound
familiar to a native speaker, a thorough analysis often proves a surprising origin of
37
words. For instance, the Polish word miecz ‘sword’ originates from Gothic meki and
dom ‘house’ comes from Proto-Indo-European domos (see Bąk 2004:130-131). Also in
English a great number of frequently used words of foreign origin can be found e.g.:
Celtic (down, beak), Greek (mathematics, optics), Greek and Latin (photograph,
television), Dutch (pack, stripe, yacht, landscape), Italian (alarm, stanza), Spanish
(alligator, cargo, hurricane), Portuguese (cobra, tank), French (count, pork), German
(rucksack, leitmotiv), Indian (bungalow, jungle), Malaysian (gong), Chinese (nankeen),
Japanese (kimono, geisha), Australian (boomerang, kangaroo), Polynesian (taboo,
tattoo), American Indian (tomahawk, wigwam), Persian (guard) (see Grzebieniowski
1995).
2.2.2 Folk Etymology and Etymological Illusions
Everyone tries to etymologise, i.e. to explain the meaning of a word on the basis of how
it is built. However, similarities in pronunciation of particular words are sometimes
coincidental and conclusions drawn on the basis of a false assumption may be naive and
wrong. A correct scientific methodology needs a thorough analysis taking into
consideration all phases of the formation of a word.
If such a phenomenon takes place among ordinary people, it is called folk
etymology. For example, the word asparagus, which is not analysable, is explained as
sparrows’ grass. Popular etymologies for some Polish towns are very interesting:
Częstochowa is believed to be ‘often hiding’ as it is situated on a hilly area; a famous
legend says that Warsaw comes from two names Wars and Sawa. However, in fact
these names originate from men’s names Częstoch (derived from the verb częstować ‘to
offer food or drink') and Warsz which is a diminutive form of Warcisław. Other
examples can be the Polish word koniak ‘cognac’ which was interpreted as ‘horse
vodka’ because the first syllable sounds like the Polish equivalent of the word ‘horse’.
In fact this word comes from the name of a French town Cognac where it was originally
produced.
Nevertheless, sometimes professional linguists, because of different reasons, make
serious errors. Professor Alexander Brückner describes such a phenomenon in his work
Złudzenia etymologiczne ‘Etymological Illusions’ included in Brückner14 (1974:238255). He gives seventeen pages of examples, sometimes very funny, like the word
14
Koneczny (1935:227) also depicts this phenomenon.
38
Amazonki ‘Amazons’ derived from Samożonki ‘sounds like: only wives’, and states that
all etymologies practised from Middle Ages to Bopp and Pott were illusions as they
were based only on coincidental similarities. He adds, not without a sneer, that still at
the time he was writing his work, for all development of linguistics, the situation did not
change This, however, made a much greater loss to science as in the past nobody
(except for the author) had taken seriously such disquisitions but if they seemed
scientifically justified, everybody was ready to believe them (see p. 238). The famous
professor must have been known as a caustic and controversial writer as the treatise is
annotated with the editor’s endnote (p. 255) which states that most words have clear
etymologies and the problem mentioned refers only to a group of questionable origin.
Nevertheless, distinguishing the last phenomenon as etymological illusion seems to be
quite reasonable.
Etymological illusions can be corrected relatively easily by more thorough research
and publications of its results. However, there is another phenomenon connected with
folk etymology, which affects a language to a greater extent causes some changes in it.
ODE (2006:671) defines it as “the process by which the form of an unfamiliar or
foreign word is adapted to a more familiar form through popular usage”.
The example can be the silent s in the word island. It derives from Old English
iegland from a base ieg ‘watered, watery’. “The change (...) was due to association with
the unrelated word isle” (ODE 2006:917). In some local dialects the Polish word
pumeks ‘pumice’ has changed its form into pomyks. It was caused by assiociation with
the verb pomyć ‘wash’ (see Polański 2003:148).
2.3 Why Do Languages Change?
It is generally much easier to establish and describe what happened than to analyse the
reasons of a phenomenon. Analogously, in linguistics, there is a great number of written
sources which deliver a huge amount of information. The comparison in the
chronological order allows to analyse particular changes and draw concrete conclusions.
On the other hand, the question why the changes proceeded, or why they went in
a particular direction, is a hard nut to crack and sometimes must be left unanswered.
Moreover, it often must be limited to suppositions, hypotheses or at best theories which
are difficult to prove. There are many suggestions about this matter, but it is not easy to
decide which is dominant. The linguists’ opinions concerning this subject vary from the
claim that any changes are not possible to be explained at all to some attempts at
39
creating a cohesive theory. The reasons of changes can be classified as psychological,
physiological, systemic and social. The psychological reasons include: analogy
(a tendency to use unified rules in word formation), language acquisition (children
change the language they are taught, in particular rules), generative model (each
generation changes a little the rules of language) and pragmatic explanations.
Physiological changes have phonological character and are caused by a need to
pronounce words easier. A typical representative of this phenomenon is assimilation.
Systemic changes comprise an aspect of a language as a whole system. The English
Great Vowel Shift can exemplify this phenomenon. Obviously, language used by the
most influential group of society can become more prestigious and spread more
effectively (see Wójcik 2007/2008).
2.4 Lexicalization and Institutionalization
Any linguistic analysis of special languages requires a thorough knowledge of word
formation. As it was discussed before, every specific area of human activity, no matter
how hermetic, requires its own vocabulary. It must consist partly of words from general
language, which often change or narrow their meanings, and partly of newly-coined
words, which sometimes go to a general language. Therefore, an examination of such
a phenomenon as word formation, at least within the limited scope of this dissertation,
seems to be absolutely necessary.
2.4.1 Sound Change and Semantic Change
“While the origin of newly emerged words is often more or less transparent, it tends to
become obscured through time due to sound change or semantic change. Due to sound
change, it is not obvious at first sight that English set is related to sit (the former is
originally a causative formation of the latter), and even less so that bless is related to
blood (the former was originally a derivative with the meaning ‘to mark with blood’, or
the like). Semantic change can also occur. For example, the English word bead
originally meant prayer, and acquired its modern sense through the practice of counting
prayers with beads.
Most often combinations of etymological mechanisms apply. For example, the
German word bitte ‘please’, the German word beten ‘to pray’, and the Dutch word
bidden ‘to pray’ are related through sound and meaning to the English word bead. The
combination of sound change and semantic change often creates etymological
40
connections that are impossible to detect by merely looking at the modern word-forms”
(Wikipedia, entry: Etymology).
2.4.2 Ambiguity of Words
A language contains both words which have only one meaning and many meanings.
The typical examples of the former type are numbers and scientific terms, which must
be precisely defined to avoid any misunderstandings. The latter type is a far more
numerous group of equivocal words.
Giving a definition of a seemingly simple notion of a phenomenon may sometimes
be extremely difficult e.g., there is no commonly accepted definition of such a plain
notion as word. Nevertheless, specialist vocabularies used both in arts, science and
technology are still being developed and the scholars of particular research work are
discussing the scopes of special terms in dictionaries, lexicons, textbooks and
dissertations.
The meaning of a word used in a particular field of knowledge is usually different
from its meaning in the general language and has a more specific, narrower scope. For
example, the word ending in a general language is the way in which something such as
a story, film or play ends; in linguistics it is the last group of letters in a word (the rules
to establish which letters belong to the ending are strictly defined), and in chess it is the
last stage of a game. What is worth mentioning in this context is the fact that in
a general language ending is connected with time whereas in linguistics rather with
space.
Ambiguity of words may be caused by similarity or the same functions they fulfil.
The former reason can be exemplified by the word crane. It is both a bird with a long
neck and a machine for lifting heavy objects. The same situation occurs in its Polish
counterpart żuraw. German der Kranish (a bird) and der Kran (a machine) come from
the same root. The latter reason represents the Polish word pióro which means both
‘pen’ and ’ feather’. In the past people used to write with gęsie pióro ‘quill pen’ then
with stalowe pióro ‘steel pen’ and at present with wieczne pióro ‘fountain pen’. It is
interesting to note that the English word pen derives from Old French penne and Latin
penna, which meant feather (see Bąk 1977:128-129).
2.4.3 Static and Dynamic Treatment of Word-Formation
Word formation can be seen in two different ways: as a process and a state. “Diachronic
41
and synchronic (Greek ‘through/across time’ and ‘together time’) are terms coined by
Ferdinand de Saussure. A diachronic approach to the study of a language (or languages)
involves an examination of its origin, development, history and change. In contrast, the
synchronic approach entails the study of a linguistic system, without reference to time”
(Cuddon 1999:217).
2.4.4. Lexicon Enrichment
Lexical enrichment or word coining includes: word formation by using affixes, word
manufacturing by such mechanisms as blending, clipping and forming acronyms,
creating calques and borrowings.
Word formation is a branch of morphology which deals with the building and
creation of words. It explains ways how to coin words, and describes their features and
functions of stems and affixes, and analyses relations between basic words and derivates
(Płóciennik 2006:245).
2.4.4.1 The Need for Creating New Words
The need to create or assimilate new words is not well-examined. However, it takes
place, in particular when a new situation, things, technical products etc. appear. The
words which appeared relatively a short time ago are: acid rain, glasnost, hacker,
yuppie or Sloane Ranger (a young upper-class woman). There was no need for these
words until such phenomena arose. However, sometimes the need may have emotional
character e.g. in the case of derogatory or euphemistic words. “The succession of slang
(especially criminal slang) words for ‘police’ over the last hundred years (including
Peeler, flatfoot, rozzer, dick, fuzz and pig) illustrate the former, while words for dead, in
both civilian and military context, (including gone to rest, passed over, late, MIA, body
count) provide a standard example of the latter. There may also be stylistic “needs”,
such as illustrated by Sloan Ranger (...) Whatever the need may be, and however trivial
it may seem, it is clear that all living languages provide the power to create new words”
(Štekauer 2005:832).
2.4.4.2 Stages of Word Formation
The way how new words become dictionary entries is quite typical. The first stage is
usually a loan, a calque or a nonce formation. The second stage occurs when a new
word is gradually becoming accepted by a part of a society. It can be said, that the term
42
has been institutionalized. The third stage is lexicalization, which can be defined as “the
final stage (...) when, because of some change in the language system, the lexeme has,
or takes on a form which it could not have if it had arisen by application of productive
rules. At this stage the lexeme is lexicalised” (Lipka 2004:6).
2.4.4.2.1. A Nonce Formation
A nonce formation can be defined as “a new complex word coined by a speaker/writer
on the spur of the moment to cover some immediate need” (Bauer 1983:45). However,
not all linguists agree with this definition as too broad, thinking rather that the
‘immediate need’ should be unique or extremely rare.
“One point that is very characteristic of some kinds of nonce formations considered
in isolation is their ambiguity. This is particularly true of compounds and of
nominalizations of verbs” (Bauer 1983:46).
2.4.4.2.2. Institutionalization
As mentioned above, institutionalization appears when a new word starts to be used by
a greater number of speakers. There is one very important feature of this stage: “that the
potential ambiguity is ignored, and only some of the possible meanings of the form are
used (sometimes only one)” (Bauer 1983:48). For example, the term telephone box,
since it was institutionalized, has meant only a small structure containing a telephone
that you pay to use. Hence, “any institutionalized lexeme will be transparent” (Bauer
1983:48).
2.4.4.2.3. Lexicalization
Lexicalized words are usually not transparent and not analysable in terms of synchronic
morphemes. Such words as road hog or Polish bielizna ‘underwear’ are lexicalized.
Road hog is somebody who drives in a dangerous way, often making it difficult for
other cars to pass, and nobody would regard it as a pig on the road. The Polish word
bielizna ‘underwear’ comes from the word biały ‘white’ and in the past used to mean all
white things. However, the scope of its meaning has been restricted to underwear at
present and lost any connection with the white colour.
The process of lexicalization can have several causes: (classification and examples
after: Płóciennik 2006:174).
1. It may result from phonetic changes leading to the obliteration of the relationship
43
between the base word and the derivative e.g. żyć ‘live’ - goić ‘heal’, rzec ‘say’ prorok ‘prophet’.
2. May be connected with the change of meaning of one of words related in the past
e.g. słony ‘salt’ – słonina ‘pork fat’, bronić ‘defend’ - brona ‘harrow’ but in the
past ‘fortified tower’.
3. May result from the disappearance of the base e.g. rżysko ‘stubble’– the verb
reż15 does not exist at present.
4. May be connected with a very rare formative e.g. to: myto ‘toll’, żyto ‘rye’.
2.4.5. Types of Lexicalization
Words can be lexicalized in a few different ways. There are four types of lexicalization:
phonological, morphological, semantic and syntactic, which can be mixed
(classification and most examples after Bauer 1983:50-61).
2.4.5.1. Phonological Lexicalization
2.4.5.1.1 Prosodic Features
This kind of lexicalization depends on an irregular stress pattern. For example, English
adjectives ending with -ic usually have the stress on the last but one syllable e.g.
pho`netic, fa`natic. However, there are some exceptions: `Arabic, `chivalric, `choleric
with the accent on the first syllable.
2.4.5.1.2 Segmental Features
This type of lexicalization has two varieties: vowel reduction e.g. in day in the names of
the weekdays and isolation caused by a phonetic change. The example may be the word
husband, deriving from Old English hūs bonda ‘house master’. Here, the element hūs
has been isolated.
This kind of changes always leads to opacity. Bauer suggests that a word such as
husband be rather treated as a simplex lexeme. However, there exists an opposite
phenomenon, remotivating a lexeme phonetically by the so-called spelling
pronunciation e.g. waistcoat, housewife, forehead.
15
The noun reż is an old name of żyto ozime ‘winter rye’. It still exists in some local dialects.
44
2.4.5.2. Morphological Lexicalization
This kind of lexicalization refers to both linking elements, roots and affixes.
Compounds usually include one linking element, which may be zero. The linking
element sometimes changes, e.g. in the 17th century German compounds containing
a noun ending with keit as the last element had no linking elements whilst at present
such compounds take ‘s’. An example may be here the word Gerechtigkeit(s)liebe ‘love
of justice’ written without the interfix s in the past and with it at present. Words
institutionalized earlier change their linking elements or are lexicalized preserving old
forms.
There is a great number of closely related words in English which have different
roots e.g. eat and edible, legal and loyal, sound, sonar and sonic, house and husband,
two and tuppence.
Words with unproductive affixes such as th in nouns nominalised from adjectives
(e.g. warmth, length, width) are lexicalized, as well.
2.4.5.3. Semantic Lexicalization
Although semantic lexicalization is a very complex phenomenon, Lipka (1977)
classifies it assuming that the substantial criterion is whether it has a cultural
background or it is caused by changes in language. The former type can be exemplified
by the German word Schreibfeder ‘writing feather’ which is not used at present. The
latter type may be represented by mincemeat which means today above all sweet food
made by mixing small pieces of dried fruit and spices, used especially to make mince
pies. Meat has here its old meaning - ‘food’.
Another criterion is whether the lexicalization is involved by the loss or the addition
of semantic information. For example understand does not consist of any meaning
related to the word ‘under’. Wheel chair, on the other hand, means more than the sum of
the particular words. Therefore, they exemplify the loss and the addition of semantic
information, respectively. However, there are some words which seem to break loose
from this criterion. Lipka (1977:160) cites here the word playboy which has additional
information in play and the loss of semantic information in boy. On the other hand, the
word bedstead falls under neither category.
A characteristic feature of semantic lexicalization is lack of semantic
compositionality. This means that the meaning of the whole word cannot be predicted
from its parts. Examples can be here blackmail or butterfly. Some words have
45
a different meaning in British, American and New Zealand English e.g. boyfriend or
town house.
2.4.5.4. Syntactic Lexicalization
There are two types of syntactic lexicalizations: internal to the complex form and
external to the complex form. Some exocentric compounds (pickpocket, scarecrow,
spoilsport) belong to the former group whereas the latter may be found in idioms and
such pairs of words as believe and disbelieve or obey and disobey which cannot be used
in the same way.
2.4.5.5 Mixed Lexicalization
Some lexemes may be lexicalized in two different ways. For example, the above
mentioned words length and width are lexicalized due to both their unproductive roots
and the irregular suffix -th. Such phenomena sometimes lead to a complete
demotivation when a derivate loses any connection with its basic form. Examples may
be here gospel, and nice. Gospel comes from Old English gōdspel ‘good news’ and nice
from Latin nescius ‘ignorant’ and its original meaning to the 16th century was ‘stupid’.
2.5 Variants of Language
A language can have different variants depending on both the region and social group
which uses it. The branch of linguistics which deals with social aspects of language is
called sociolinguistics. Let us present some terms used in sociolinguistics, all the more
that some of them are often confused or used interchangeably, both in English and
Polish.
A speech variety is a “language (of form of language) used by any group of
speakers. (...) Speech varieties are of four types: the standard language, social speech
varieties, (also called social dialects or sociolects), regional speech varieties (or regional
dialects), and functional speech varieties (or registers)” (Leech 1981:540-541). There
is also a differentiation of language between users belonging to different social groups.
Variations of language use are correlated with socio-economic status, income,
occupation, educational level etc. This vertical diversity is called social stratification of
language (see Leech 1981:542-543).
A dialect is usually defined as a language of a group of people living on a specific
46
geographical territory which differs from the standard language in some aspects of
phonetics, phonology, inflection, lexis, phraseology, syntax and word-building.
However, the standard language is sometimes called the most prestigious dialect, used
by well-educated people. The standard language is used in official documents, in
media, taught at schools etc.
A sociolect is “a speech variety spoken by a group of people who share a particular
social characteristic such as socio-economic class, ethnicity, or age” (Leech 1981:542543).
The term slang refers to words which are not accepted by a large number of people,
in particular belonging to the higher class. It has pejorative connotations as a vulgar
type of language. It also plays a vital role in keeping identity in criminal gangs.
A jargon, sometimes called occupational sociolect is defined as a language used by
a specific group of societies, e.g. practising the same profession, students etc. We will
discuss this term more closely later. The word argot, sometimes confused or used
interchangeably with jargon is “a secret language associated with social groups whose
members wish to conceal some aspect of their communication from non-members
(Leech 1981:705).
Within these forms of language we can also distinguish such phenomena as an accent
and a style. An accent is associated with pronunciation, hence it usually betrays some
one’s origin. It may be both a specific region of the native country (dialect) or a foreign
country (e.g. a French accent, a German accent of English). A style16 is a characteristic
manner of expression depending on the communicative situation and aims of utterance
or writing. Leech (1981:541) distinguishes casual, formal, technical, simplified
registers, however, the list is not closed.
2.5.1. Jargon
As mentioned above, a jargon is usually defined as a language of a group of people:
bureaucrats, lawyers, doctors, scientists, diplomats etc. It refers only to a vocabulary
characteristic of this group. Nevertheless, this word originally meant “chattering of
birds” and derives from French or Latin. The true meaning of this word is then
“confused talk” or “unintelligible or secret language”. The latter definition is given by
The Penguin Dictionary of Literary Terms and Literary Theory which suggests that the
16
A style is discussed in more detail in subchapter 2.6.2.
47
former one be derogative. That attitude is closer to the way of thinking of the author of
this work as it emphasises that it is sometimes so hermetic that hardly understandable
for the non-initiates. The author has seen a number of chess books translated into
Polish, largely from Russian, which have included a lot of inadequate expressions,
unnatural language and even serious errors, and funny collocations. The fact that
professional translators cannot cope with such a specific language shows that translation
of this kind of texts may be a hard nut to crack for those who do not feel the real
meaning of particular words in a specific language.
If so, is not chess jargon an argot? No, since no chess-player using jargon wants to
hide anything. The next question arises, why people use jargon? It names some
elements of reality more intensively or in greater detail. Cegieła and Markowski
(1986:67-68) give three functions of sociolects17: nominative, expressive, and masking.
They explain them with use of theatre jargon.
Not every person from outside the theatre is able to name kinds of errors made by
actors, in spite of the fact that he or she can see them. There are many jargon detailed
expressions of inappropriate play like: grać bebechowo ‘to act too expressive’ (the most
similar literally translation would probably be the idiom work one’s guts out), grać
w kamizelkę ‘to act too cosy’ (literally: to act to the waistcoat), zadeptać rolę ‘to drown
the text out by moves’ (literally: to trample the role) (see Cegieła 1986:67).
Jargons call some things in a wittier and sometimes more malicious way. For
example, an actor playing small parts is called actor epizodyczny ‘bit player’. However,
he is called in the theatre in a much less delicate way: ogoniarz ‘somebody at the tail
(end)’, małorolny ‘smallholder’, halabardnik ‘halberdier’. This is an expressive
function of jargon. Some sociolects have also masking features (see Cegieła 1986:67).
All jargons have some common features. Although they join particular communities,
the are not used outside them (see Cegieła 1986:68).
2.5.1.1 Jargons and Special Languages
There is a substantial difference between jargons and special languages. These terms are
sometimes confused, all the more that both seem to be difficult and often contain words
unknown to ordinary people. A special language is much more technical and has a lot of
specialist terms connected with its particular branch. It is not expressive. Let music be
17
The authors use the term gwara środowiskowa. We translate it sociolect or jargon.
48
an example. The specialist words will be names of particular instruments, music forms,
notes etc. Even a small child knows what a trumpet is, however, he or she may not
know what the score of an opera is, as the main meaning of the word score is different,
and even an adult man may not know what largo or sonata exactly mean. All these
words are specialist terms. They can be easily found in dictionaries - on the contrary to
jargon words. These are very expressive, vivid, evocative e.g. akordeon ‘accordion’ is
called in Polish kaloryfer ‘radiator’ because its bellow resembles the shape of it. For the
same reason klarnet ‘clarinet’ is named kij ‘stick’. Nuty ‘notes’ are kwity ‘receipts’,
wrzucić więcej wiatru ‘literally: to throw in more wind’ means poruszać szybciej
smyczkiem ‘to move faster with the bow’, śpiewać kopułą kościoła ‘literally: to sing
with the dome of a church’ means wyraźnie artykułować ‘to articulate clearly’ etc.
2.5.1.2 Chess Jargon
There are some chess jargon words in Polish. To lose a game is often described as
umoczyć ‘mess up, screw up’ but literally ‘to dip’ or zmoczyć ‘literally: soak’, and to
win is said wyczesać ‘literally: comb’ (perhaps it may be translated as round up)
wyrąbać ‘literally: to hew, to hack’. To win easily is described as wygrać w cuglach
‘literally: to win in reins’. A lost position is named wór (aż furczy) ‘bag (so much as it
flutters)’, kanał ‘mess’ but literally ‘canal, channel’, świeża ‘fresh’, grabara ‘a derivate
from grób (grave)’, klozet ‘loo, toilet’. Except for fuszer ‘patzer’ a bad player is called
sałata ‘lettuce’, kożuch ‘sheepskin coat’, jeleń ‘dupe’ but literally ‘deer’, frajer ‘sucker’
patałach ‘bungler’. An excellent player is said to play kolosalnie ‘colossally’ whereas
żyła ‘vein’ is a chess-player who always tries to take advantage of even a symbolic
edge. Big open tournaments are sometimes played in two rooms: one for top players,
the other for outsiders. The latter has jargon names chlewik ‘sty, pigsty’, paśnik
‘feeder’. Very young players (about up to ten) are sometimes called inkubatory
‘inkubators’ or pampers ‘pampers’. Emeryt ‘senior citizen’ is a chess-player who
stopped developing as a competitor. Being emeryt at thirty is not an exception. Even
young players at the end of junior age are sometimes called in this way. To block
a position is named zamurować pozycję ‘to brick (wall) in a position’. Chałtura
‘hackwook’ is an activity that gives some profits but is not useful for general
development.
As can be seen, the jargon words and expressions are often very blunt or even crude,
but they often hit the bull’s eye showing things in their full vividness. However, they
49
are rather not used in writing as it could be offensive.
2.5.2. General Language and Special Languages
As Ferdinand de Saussure (2002:49) noticed, an advanced level of culture favours the
development of some special languages (juridical, scientific language). Let us discuss
associations between a general language used by all people and a jargon. This problem
has been analysed by Milewski (2005:94, 152-153) who thinks that the constant
borrowing of words between a general language and special language is the main cause
of changing their meanings. The words which go from general language to jargon
narrow and specify their meaning and vice versa if the words go from jargon to general
language, their range becomes more general and essence poorer. The cause of this
phenomenon is simple. Jargons function in some relatively simple and precisely explicit
situations restricting the meaning of the words to these contracted possibilities. General
language, on the other hand, is used in more varied situations and broadens their
meanings.
Let us present a few examples. Fowl means a bird that is kept on a farm for its eggs
and meat but in the past it was a word for ‘bird’. On the other hand, bird was restricted
to a young bird. The word dog was originally the name of a specific powerful breed of
dog. The general Old English word for dog was hund which is now spelled as hound
and means today a dog used in hunting. Barn was in the past ‘a place to store barley’
Another word, meat, (O. E. mete) was food in general (examples from Room 2002:63,
178, 235, 289, 373, Gelderen 2006:74). The old issue of the Bible, The King James
Version, coming from the beginning of the seventeenth century, uses two of the above
quoted words in one verse:
“And to every beast of the earth, and to every fowl of the air, and to every
thing that creepeth upon the earth, wherein [there is] life, [I have given]
every green herb for meat: and it was so”(Genesis 1:30).
These examples show that some words go from a specific language (here language of
breeders and hunters) to a general language and vice versa, changing their range and
essence. Obviously, the same phenomenon occurs in chess language and the relevant
examples will be extensively discussed and illustrated in chapter 3.
50
2.6 Figurative Language
2.6.1. A Style
Cuddon (1999:872) defines a style as “the characteristic manner of expression in prose
or verse; how a particular writer says things”. The factors falling into the analyses are:
“a writer’s choice of words, his figures of speech, the devices (rhetorical and
otherwise), the shape of his sentences” etc. Although he believes that giving
a satisfactory definition of a style is hardly possible, he classifies them into four
categories and gives some examples: “(a) according to period: (...) Augustan, Georgian,
(b) according to individual authors: Chaucerian, Miltonic (...), (c) according to level:
grand, middle, low and plain, and (d) according to language: scientific, expository,
poetic (...)”.
Jaroszyński (1998:54), on the other hand, emphasizes that common speech also
should care for a good style, as it derives not from nature but culture. Consequently, the
point is that speech should both correspond to the thing it touches on, and count with
listeners and various circumstances. A style in classical sense (Latin elocution, Greek
leksis) was the ability to express things in words (vestire); sometimes floweriness, at
other times modesty was needed. Aristotle (1988, III, 1) states:
“For it is not enough to know what we ought to say; we must also say it
as we ought; much help is thus afforded towards producing the right
impression of a speech. The first question to receive attention was naturally
the one that comes first naturally - how persuasion can be produced from the
facts themselves. The second is how to set these facts out in language. A
third would be the proper method of delivery; this is a thing that affects the
success of a speech greatly; but hitherto the subject has been neglected”
(translated by W. Rhys Roberts).
It was essential that a classical style have four features: appropriateness (aptum),
correctness (latinitas), transparency (perspicuitas) and ornateness (ornatus). The last
one will be the subject of this chapter.
2.6.2. The Ornateness of a Style
Jaroszyński (1998:58-60) continues that an ideal speech ought to apparently be dry,
51
cold, spare and unequivocal, and any ornaments or stylisations are some abuse. This
fallacy is the legacy of nominalistic philosophy which reached its apogee in positivism.
However, reductionism is the fundamental error of this kind of thinking. If the reality
consisted exclusively of precisely defined units, mathematical formula would be the
only appropriate model of a language. Fortunately, the reality does not restrict itself to
quantity since, except for how many and how much, there are still nine other ways of
existing including the substantial: ‘what’, ‘where’ ‘when’ and ‘how’. A man’s mind
perceives the reality in a richer way, using imagination and senses. Moreover, cognition
is connected with love (will, feelings). Hence, the paradigm of unequivocal, quantitative
language is wrong since it does not convey the richness and diversity of the reality and
is out of contact with it.
2.6.2.1. Types of Ornaments
A classical ornament (ornatus) referred to single words and phrases. The former ones
concern various tropes whereas the latter were figures of speech subdivided into figures
of thoughts (figurae sententiae) and figures of word (figurae verborum). As early as in
the fourth century over two hundred of figures were known! (see Murphy 1974:20, note
38). Obviously, the range of this dissertation allows to only present an outline of this
issue.
A trope is a figurative use of a word. It derives from seventeenth-century Latin
tropus (figure of speech) from Greek tropos (turn, way), related to trepein (to turn) (see
Room 2004:646, ODE 2006:1889). According to the famous Roman rhetorician Marcus
Fabius Quintilianus, a trope is an advantageous change of a proper meaning of a word
or phrase into another one (see Kwyntylian 1951, VIII, 8,1). These advantages are
aimed at achieving particular effects, such as advice, thrills, admiration (see Jaroszyński
1988:61).
The main tropes are:

onomatopoeia (nominatio): imitation of natural sounds e.g. whistle, cuckoo;

periphrasis (circumitio): using a description instead of a single word e.g. the
author of Hamlet instead of Shakespeare;

irony (eirōneia): using words which mean something opposite to the real
meaning, often a hidden mockery, e.g.: Yet Brutus says he was ambitious;
And Brutus is an honourable man. (Shakespeare 1994a);
and above all
52

metaphor (translatio) and metonymy (denominatio) which will be discussed
in detail in the next part of this chapter.
Figures of speech (ornaments in compound words, ornatus in verbis coniunctis) are
usually defined as an overstepping of a binding language custom or norm which enrich
an utterance with some aesthetic quality (clarity, ornateness, grandeur, originality) or in the case of oratorical utterances - increase the suggestiveness, making them more
evocative (Polański 2003:153).
In rhetoric the word figure was taken from painting and sculpture (it concerns
especially Greek and Roman art) where the beauty of human body was shown off.
Figures of word are based on an external set-up of words, relatively easy to be
identified, whereas figures of thoughts above all take into consideration the sense.
However, giving a precise definition would be very difficult since there are a lot of
figures combining the features of the two types (see Jaroszyński 1988:63).
The figures of work are figures created by adding (per adiectionem), subtracting (per
detractionem) and similarity18 (per similitudinem), respectively. There are two samples
below for each type: (see Jaroszyński 1988:63)

anaphora (repetitio): “(Greek: ἀναφορά, carrying back) is emphasizing words
by repeating them at the beginnings of neighbouring clauses.” E.g. What the
hammer? what the chain? / In what furnace was thy brain? / What the anvil?
what dread grasp / Dare its deadly terrors clasp? (William Blake, from The
Tyger);

antithesis (contentio): contrast of ideas e.g.: Brutus: Not that I lov’d Caesar
less, but that I lov’d Rome more. (Shakespeare 1994a:73).

ellipsis (elleipein) is an omission of a word, often expressed by suspension
points, e.g. Jack likes Ann and Ann, Jack.

zeugma is “a figure of speech in which the same word (verb or preposition) is
applied to two others in different senses. For example: (...) ‘Miss Bolo went
home in a flood of tears and a sedan chair’ (Charles Dickens)” (see Cuddon
1999:991);

isocolon consists in the same numbers of syllables in particular parts of
18
In his later publication (Jaroszyński 2008:86,89) the author gives ‘by putting in order’ (per ordinem)
instead of ‘by similarity’ (per similitudinem). However, some examples are the same. On the other hand,
Polański (2003:152), invoking Quintilian, gives ‘by transposing’ (per transmutationem) and adds ‘by
replacement’ (per immutationem). The latter one is characteristic of all tropes.
53
an utterance e.g. Julius Caesar's Veni, vidi, vici ‘I came; I saw; I conquered’;

paronomasia “is the use of words that sound similar to other words, but have
different meanings” e.g. The end of the plain plane, explained (see
http://www.sil.org/linguistics/GlossaryOfLinguisticTerms/WhatIsParonomasi
a.htm)
Quintilian compared the figures of thought to a swordsman using in fight not only his
force and swing but, above all, took advantage of his varied technique of blows and
thrusts.
“There is no more effective method of exciting the emotions than an apt use
of figures. For if the expression of brow, eyes and hands has a powerful
effect in stirring the passions, how much more effective must be the aspect
of our style itself when composed to produce the result at which we aim?
But, above all, figures serve to commend what we say to those that hear us,
whether we seek to win approval for our character as pleaders, or to win
favour for the cause which we plead, to relieve monotony by variation of
our language, or to indicate our meaning in the safest or most seemly way”
(Kwintylian 1951, IX, 1, 19-21).
A few from among a numerous group of figures are worth mentioning:

parrhesia (licentia): frankness and honesty in presenting opinions e.g.: Kent: Kill
thy physician, and the fee bestow / Upon thy foul disease, revoke thy gift ,/ Or,
whilst I can vent clamour from my throat, / I'll tell thee thou dost evil.
(Shakespeare 1994b:28);

parabole (similitudo): showing resemblance in different situations e.g.: It is much
harder for a rich person to enter the Kingdom of God than for a camel to go
through the eye of a needle. (Mt 19.24) (GNB);

apostrophe (apostrophe) directing speech to an imaginary person or absent things
e.g.: To what green altar, O mysterious priest, / Lead'st thou that heifer lowing at
the skies, / And all her silken flanks with garlands drest?" John Keats, “Ode on a
Grecian Urn.”
54
2.6.2.2. Metaphor
Metaphor is a figure of speech which is based on one of the Quintilian’s principles,
namely per immutationem, it is by replacement. The term metaphor derives from Greek
μεταφορά ‘transfer’ (see Polański 2003:361-363, Wikipedia, entry metaphor).
A metaphor “connects two or more things. More generally, a metaphor describes a first
subject as being or equal to a second object in some way. This device is known for
usage in literature, especially in poetry, where with few words, emotions and
associations from one context are associated with objects and entities in a different
context” (Wikipedia, entry metaphor).
There are different divisions of metaphors. Polański (2003:363) distinguishes
metaphors in praesentia and in absentia. The former occur when both elements are
present e.g. ‘My soul is the mirror of the world’, the latter when there is only one
metaphorical term e.g. ‘I live among animals’. Podlawska (2002:196) mentions
colloquial and poetical metaphors which differ in the extent of originality.
Wikipedia (entry: Metaphor) gives many types of metaphors e.g. extended metaphor
that can continue into a few sentences. The term dead metaphor is worth mentioning, as
well. It concerns expressions which initially were metaphors and due to a very frequent
usage have become idioms e.g. head teacher, computer mouse, world wide web (see
Wikipedia, entries: metaphor, dead metaphor). Polański (2003:363) also mentions
metafora genetyczna ‘genetic metaphor’ which concerns expressions which changed or
obtained a new meaning besides the original one and became polysemic expressions
e.g. ucho dzbanka ‘the handle of a jug’, but literally ‘the ear of a jug’.
Another term, a dying metaphor, is something different. George Orwell in his essay
Politics and the English Language19 “defines a dying metaphor as a metaphor that isn't
dead (dead metaphors are different, as they are treated like ordinary words), but has
been worn out and is used because it saves people the trouble of inventing an original
phrase for themselves. In short, a cliché. Example: Achilles' heel. Orwell suggests that
writers scan their work for such dying forms that they have 'seen regularly before in
print' and replace them with alternative language patterns” (Wikipedia, entry:
metaphor).
There are large numbers of studies and monographs on metaphor. Obviously, the
modest scope of this thesis does not allow for such exhaustive treatment of the subject.
19
In the cited essay G. Orwell repines at the declining level of English and is very critical of using
metaphors.
55
Therefore, we will restrict ourselves to a short outline of selected approaches to this
problem.
2.6.2.3 Metaphor and the Truth20
Most of the works concerning the structure of the metaphor are of linguistic character.
Father Mieczysław Krąpiec’s analyses are an notable exception. He regards metaphor as
a kind of analogy of proportion. The difference consists in the fact that in a strictlyunderstood analogy of proportion the transfer of a name from one thing to another is
dictated by objective reasons, in the case of metaphor the active participation of the
subject is supposed. According to Krąpiec, the use of metaphor is aimed at evoking
some psychical reactions based both on common nature and culture. Otherwise, it
would be incomprehensible and will not trigger off the desired effect.
The author asks the fundamental question about the reasons why we use metaphors.
Does metaphor have its roots in the structure of reality? He thinks that a linguistic
analysis cannot be sufficient. We must resort to metaphysics and anthropology. The
greatest authority is here Saint Thomas Aquinas. In his main work Summa Theologica
an interesting excerpt can be found: rejecting the charge that worship of God should be
noble and not theatrically-poetic, he states that the human mind does not understand
poetical issues owing to the defect in the truth which is in them, in the same way the
human mind is not able to perfectly comprehend God’s issues because of the excess of
the truth. Therefore in both cases sensuous figures must be used21.
We can see that there are two major reasons of the use of the metaphor and both are
focused on the problem of the cognizability of the truth - it may be both the defect or
excess of the truth. Consequently, it seems that we use a metaphor when the truth for
some reasons falls outside. The author states that we cannot get to know God directly.
Then, some truths about Him are revealed by metaphors.
However, the other question is left: why the metaphor concerning non-transcendental
things is needed? How should we understand Aquinas’ defect in the truth? In short, the
thing comes down to imperfection in human cognition. Things surrounding us are not
fully intelligible. The co-operation of our senses and intellect is not ideal as senses tend
to capture things specifically and intellect, as the insubstantial power of the soul 20
This subchapter is a summary of Jaroszyński 1991-1992:337-345.
“Sicut poetica non capiuntur a ratione humana propter defendum veritatis, qui est in eis; ita etiam ratio
humana perfecte capere non potest divina propter excendentem ipsorum veritatem; et ideo utrobique opus
est reppraesentatione per sensibiles figures” (Sth, I-II, 101, 2 ad 2).
21
56
generally. So, both the matter itself and the structure of our cognitive powers are the
major reasons of this imperfection.
In order to understand the connection between the abovementioned considerations
and the metaphor we must touch the problem of communication. Saint Thomas
distinguishes two types of it: real and by similarity. The former type assumes that the
meaning of a name can refer to many things (e.g. the name lion can be related to any
particular animal of this species) or is material and can be multiplied in imagination
(e.g. Sun).
However, if we take into consideration a concretum as a concretum, it will be really
separated from other concreta. Hence, if a name is to denote this individual as itself, we
can deal with communication neither in reality nor in imagination. For, this concretum
cannot exist or be thought as a multitude. The name God cannot be communicated in
a real sense but only by similarity. Analogically, we use the name lion in a real sense
when we think of particular specimen of this species. However, somebody can be called
a lion by similarity if he has some similar features e.g. courage.
Returning to the name God, in spite of the fact that people’s opinions are different, it
can be an example of a communication only by similarity. The names we use and their
corresponding meanings do not arise from the way of existence of things but from the
way of our cognition. Thus, if we want to communicate a concretum as a concretum we
do not deal with communication in its real sense but by similarity. And this very
similarity is the soul of metaphor. Giving up equivalence frees creativity of human
spirit.
Aquinas’ approach to metaphor as deriving from a defect or excess of the truth is
extremely apt. It allows to maintain realism both in human cognition, particular sciences
and philosophy.
2.6.2.4 Metaphor According to George Lakoff and Mark Johnson
George Lakoff and Mark Johnson’s book Metaphors We Live By was the first work on
this subject written in the spirit of cognitive linguistics, which, as mentioned above, is
the trend in contemporary linguistics which in the most radical way opposes the
tradition of transformational and generative grammar initiated by Noam Avram
Chomsky.
Lakoff and Johnson treat metaphor not only as a stylistic or rhetoric ornament, but
above all a central element of our today’s use of English. This thought is not original.
57
However, the main Lakoff and Johnson’s merit is that they develop and substantiate
their theses very thoroughly. Moreover, they prove that metaphors influence our way of
perception of the world, thinking and acting. Thinking in a metaphorical way is also
deep-rooted in the Christian tradition. The Bible gives us divine matters in parables,
using resemblances to material things. According to Clive Staples Lewis (1947:76-77)
if we speak about things which are not perceived with the senses we have to resort to
the metaphorical use of language22. Hence, books on psychology, economy or politics
can be as metaphorical as those concerning poetry or religion since there is no other
way to express thoughts.
Lakoff and Johnson state that we see things not such as they really exist but rather in
the way we experience them. He tries to replace the myths of objectivism and
subjectivist (this is a title of one of the chapters in their book) by the myth of
experience.
Tomasz Krzeszowski notices three original ideas of the book. So far nobody has 1)
stated that metaphors are “rationality enriched by imagination”, 2) thoroughly justified
that metaphors are not accidental but stick deeply in our experience and create coherent
systems focused on some notions, 3) interested deeply in an everyday’s language and
not newly-produced metaphors in poetry (see Lakoff 1988:5-8, introduction to the
Polish edition by Krzeszowski, refers to all paragraphs from the beginning of this
subchapter).
The main idea of the book is presented in the very first paragraph.
“Metaphor is for most people a device of the poetic imagination and the
rhetorical flourish - a matter of extraordinary rather than ordinary language.
Moreover, metaphor is typically viewed as characteristic of language alone,
a matter of words rather than thought of action. For this reason, most people
think they can get along perfectly well without metaphor. We have found,
on the contrary, that metaphor is pervasive in everyday life, not just in
language but in thought and action. Our ordinary conceptual system, in
terms of which we both think and act, is fundamentally metaphorical in
nature” (Lakoff 1980:3).
22
This opinion is coherent with St. Tomas’ teaching.
58
Continuing their disquisition, the authors state that there is mutual interference between
our conceptual system and perception of the world. However, we are usually unaware of
this fact. Language research is a way to discover this phenomenon.
The authors give a huge number of examples. What is most useful for this thesis is
given in the first list and is worth quoting in its entirety, including their annotations to it.
This fragment both demonstrates an amazing similarity to chess and shows how
important cultural factors are in forming metaphors.
“ARGUMENT IS WAR
Your claims are indefensible.
He attacked every weak point in my argument.
His criticism were right on target.
I demolished his argument.
I’ve never won an argument with him.
You disagree? Okay, shoot!
If you use that strategy, he’ll wipe you out.
He shot down all my arguments.
It is important to see that we don’t just talk about arguments in terms of war.
We can actually win or lose arguments. We see the person we are arguing
with as an opponent. We attack his positions and we defend our own. We
gain and lose ground. We plan and use strategies. If we find a position
indefensible, we can abandon it and take a new line of attack. Many of the
things we do in arguing are partially structured by the concept of war.
Though there is no physical battle, there is verbal battle, and the structure of
an argument - attack, defence, counterattack, etc.- reflects this. It is in this
sense that THE ARGUMENT IS WAR metaphor is one that we live by in
this culture; it structures the action we perform in arguing” (Lakoff 1980:4).
Lakoff and Johnson (Lakoff 1980:5) state that “the essence of metaphor is
understanding and experiencing one kind of thing in terms of another”, though both of
them remain different things. Hence, some of other aspects of a concept must be hidden.
An interlocutor cannot concentrate on all aspects of a concept. Highlighting and hiding
is one of characteristic features of metaphors. Michael Reddy (1979) “observes our
59
language about language is structured roughly by the following complex metaphor:
IDEAS (OR MEANINGS) ARE OBJECTS.
LINGUISTICS EXPRESSIONS ARE CONTAINERS.
COMMUNICATION IS SENDING.
The speaker puts ideas (objects) into words (containers) and sends them (along
a conduit) to a hearer who takes the idea/object out of the word/container” e.g. “It’s
difficult to put my ideas into words” (Lakoff 1980:10-11). These are structural
metaphors as one concept gives its metaphorical structure to another one
Orientational metaphors constitute another type. They are connected with spatial
orientation, especially up-down. The authors quote many sometimes surprising
systematic associations: happy, conscious, health, life, having control or force, more,
foreseeable, good, virtue, rational etc. are up’ while their opposites are down. Some
examples may be: “He is at the peak of health”, “His health is declining”, “He is highminded”, “That was a low trick”. These metaphors have social background (Lakoff
1980:15).
The next type are ontological metaphors, which refer to objects. Examples of
systematic associations can be, e.g.: ‘inflation is entity’, ‘the mind is a machine’, ‘the
mind is a brittle object’ with exemplary expressions: “Inflation makes me sick”, “My
mind just isn’t operating today”, “Her ego is very fragile”, respectively (see Lakoff
1980:25-28).
A few very interesting subsequent examples of associations and corresponding
metaphors can be: love is a journey “Our marriage is on the rocks”, theories and
arguments are buildings “Is that the foundation of your theory?”, ideas are food “What
he said left a bad taste in my mouth”, ideas are plants “The seeds of his great ideas were
planted in his youth”, ideas are cutting instruments “That’s an incisive idea”, love is
war “He is known for his many rapid conquests” etc. (see Lakoff 1980:44-49).
Although the study of the abovementioned book is really fascinating, the reader must
be referred to the original if he wants to richly exemplify in detail all given issues as it
would go far beyond the scope of the work. It is interesting that the metaphors discussed
there are usually very similar both in English and Polish.
60
2.6.2.4 Chess Metaphors in Writings by Saint Teresa of Avila
Saint Teresa of Ávila, also known as Saint Teresa of Jesus (1515-1582) was a reformer
of the Carmelite Order and one of the greatest Christian mystics. Pope Paul VI
conferred upon her the title ‘a Doctor of the Church’ in 1970. Her writings, written in
excellent language, are a real spiritual testament containing her experiences and
instruction how to deal with interior life. She describes particular phases of the way to
God, teaches how to pray and how to overcome our weaknesses. In one of the greatest
of her works The Way of Perfection23 she uses very original chess metaphors. The early
part of chapter 16 “describes the difference between perfection in the lives of
contemplatives and in the lives of those who are content with mental prayer.”24
The first paragraph contains a very daring analogy. She treats the development of the
contemplative prayer as a game of chess. She shows the logic of its development and
the need to practice it regularly in order to achieve perfection. The most stunning is the
last sentence where Saint Teresa states that deep prayer in some way ‘compels’ God to
give us His grace. This compelling is expressed as a checkmate to God!
“I hope you do not think I have written too much about this already; for I
have only been placing the board, as they say. You have asked me to tell
you about the first steps in prayer; although God did not lead me by them,
my daughters I know no others, and even now I can hardly have acquired
these elementary virtues. But you may be sure that anyone who cannot set
out the pieces in a game of chess will never be able to play well, and, if he
does not know how to give check, he will not be able to bring about
a checkmate25. Now you will reprove me for talking about games, as we do
not play them in this house and are forbidden to do so. That will show you
what kind of a mother God has given you - she even knows about vanities
like this! However, they say that the game is sometimes legitimate. How
legitimate it will be for us to play it in this way, and, if we play it frequently,
23
All citations are taken from Saint Teresa of Avila (1964), chapter 16.
“The first four paragraphs of this chapter originally formed part of V., but, after writing them, St. Teresa
24
tore them out of the manuscript, as though, on consideration, she had decided not to leave on record her
knowledge of such a worldly game as chess. The allegory, however, is so expressive and beautiful that it
has rightly become famous, and from the time of Fray Luis de León all the editions have included it. The
text here followed is that of E”.(the original footnote from the book).
25
“Chess was very much in vogue in the Spain of St. Teresa’s day and it was only in 1561 that its great
exponent Ruy López de Segura had published his celebrated treatise, in Spanish, entitled “Book of the
liberal invention and art of the game of chess” (the original footnote from the book).
61
how quickly we shall give checkmate to this Divine King! He will not be
able to move out of our check nor will He desire to do so.”
The second paragraph is the praise of virtues. The major one is humility - represented
by the queen, others are pawns. Spiritual fight is compared to a chess game.
“It is the queen which gives the king most trouble in this game and all the
other pieces support her. There is no queen who can beat this King as well
as humility can; for humility brought Him down from Heaven into the
Virgin’s womb and with humility we can draw Him into our souls by a
single hair. Be sure that He will give most humility to him who has most
already and least to him who has least. I cannot understand how humility
exists, or can exist, without love, or love without humility, and it is
impossible for these two virtues to exist save where there is great
detachment from all created things.”
The forth paragraph is another lesson of humility, one again expressed in chess
terminology. The state of our soul cannot be overestimated. Beginners in prayer, like
weak chess-players, often think that they are advanced.
“But contemplation, daughters, is another matter. This is an error which we
all make: if a person gets so far as to spend a short time each day in thinking
about his sins, as he is bound to do if he is a Christian in anything more than
name, people at once call him a great contemplative; and then they expect
him to have the rare virtues which a great contemplative is bound to
possess; he may even think he has them himself, but he will be quite wrong.
In his early stages he did not even know how to set out the chess-board, and
thought that, in order to give checkmate, it would be enough to be able to
recognize the pieces. But that is impossible, for this King does not allow
Himself to be taken except by one who surrenders wholly to Him.”
2.6.2.5 Allegory
Allegory is a kind of metaphor. It derives from Greek: αλλος, ‘other’, and αγορευειν, ‘to
speak in public’. The difference is that the relations between particular notions are
62
conventional, unambiguous and spread in given cultural area. Allegory is an essential
element of fairy tales, didactic literature, medieval religious poetry, e.g.: fox is an
allegory of cunningness and slyness, lamb - innocence, defencelessness, lion - might,
power, authority, woman with a scythe/the Grim Reaper - death, peacock - pride.
Classical literature gives the allegory of the cave from Plato's Republic (see
Wikipedia, entry: allegory, Podlawska 2002:196). The Bible is full of allegories.
Ezekiel was the prophet who exceptionally often used them. His book shows some
allegories in which he presents the fate of his nation telling about a foundling who grew
into a beautiful woman (16, 1-63), the eagle and the vine (17, 2-10), two sinful sisters
(23, 1-49) (see Synowiec 2003:321-322).
2.6.2.6 Metonymy
Metonymy, like metaphor, is also a figure of speech which is based on the Quintilian’s
principles per immutationem, that is by replacement. The word metonymy derives from
Greek metōnumia which meant ‘change of name’26 (see ODE 2006:1105). Cuddon
(1999:510) defines metonymy as “a figure of speech in which the name of an attribute
or a thing is substituted for the thing itself.” In another place, invoking Roman
Jakobson’s theory of binary opposition (see Jakobson 1956), he states that there are two
axes of language: syntagmatic (horizontal) and paradigmatic (vertical, associative). The
former is like a horizontal line of consecutive words, the latter like a vertical line where
words can be potentially replaced. According to this theory metaphor and metonymy
differ in a substitution mechanism. Metonymy is connected with a change on the
syntagmatic axis whereas metaphor on the paradigmatic one (see Polański 2003:364365, Cuddon 1999:107). To put it simply “Both figures involve the substitution of one
term for another. In metaphor, this substitution is based on similarity, while in
metonymy, the substitution is based on contiguity” (Wikipedia, entry: metonymy).
There are different types of metonymy depending on what the relation between
a replacing and replaced word is:27

metonymy of reason (reason instead of effect) e.g. Zginął od kuli ‘He was
killed with a bullet’;
26
Encyclopaedia Britannica gives the following etymology of the word metonymy: “from metōnymia,
‘change of name,’ or ‘misnomer’”.
27
Classification and most of examples after Polański 2003:365, Podlawska 2002:197, Wikipedia, entries
Metonimia and Metonymy.
63

metonymy of effect (effect instead of reason) e.g. Podał mu śmierć w pigułce.
‘He gave him a death in a pill’;

metonymy of author (author instead of work) e.g. I am reading Sienkiewicz, I
like listening to Mozart;

metonymy of sign (sign, symbol instead of what it denotes) e.g.: laurel
wreath;

metonymy of contents (vessel instead of contents) e.g. mug instead of beer;

metonymy of tool (tool instead of thing of person) e.g. Ma ostre pióro. ‘He
has a sharp pen’.

metonymy of material (material instead of thing) e.g. Ryknęły spiże ‘cannons
thundered’ but literally ‘bronzes roared’;

metonymy of country (country instead of its inhabitants) Europe condemns
terrorism.
Obviously, a lot of metonymies often will differ in particular countries or cultures,
e.g. the word president can be replaced by the White House if it concerns the USA and
by the Kremlin referring to Russia.
A special type of metonymy is synecdoche. It consist in replacing the part for the
whole (pars pro toto) or vice versa (totum pro parte). The replacement must refer to the
same object (see Podlawska 2002:198-199). Lakoff and Johnson (1980:36) give the
following examples:
“We need a couple of strong bodies for our team. (= strong people)
There are a lot of good heads in the university. (= intelligent people)
I’ve got a new set of wheels. (= car, motorcycle, etc.)
We need some new blood in the organization. (= new people).”
Lakoff and Johnson (1980:36), with his customary thoroughness, differentiate
metaphor from metonymy: “Metaphor is principally a way of conceiving of one thing in
terms of another, and its primary function is understanding.28 Metonymy, on the other
hand, has primarily a referential function, that is, it allows us to use one entity to stand
for another.” He also remarks that the choice of a specific part is not random, as it
28
This sentence amazingly agrees with Saint Thomas’ views.
64
usually represents the aspects we want to emphasise. For example “when we say that we
need some good heads on the project, we are using ‘good heads’ to refer to ‘intelligent
people’”.
Lakoff and Johnson (1980:37, 39-40) stress that metonymies, like metaphors, are not
accidental but create systematic patterns. They are not only rhetoric figures but also,
being rooted in our experience, they affect our attitudes and way of thinking. They are
also strictly connected with culture. An excellent example can be a religious metonymy
of the Holy Spirit represented by a dove. It is not random as this bird has always been
associated with beauty, gentleness, and peace.
65
Chapter 3 Chess Terminology
This chapter constitutes the main body of this dissertation. It consists of a number of
chess terms juxtaposed in seven tables which correspond to particular issues of chess or
linguistics. The first one contains the most general chess expressions, the second refers
to the chessboard and its elements, the third includes names chessmen, and the fourth words connected with moves, the fifth - terminology concerning a chess game and chess
tournaments, the sixth - chess words and expressions which are metaphors of a battle
and the seventh - miscellaneous words and expressions, which were not classified to
any of the abovementioned categories.
The author assumes that the reader possesses at least elementary knowledge of chess.
Obviously, comments will be given, particularly if some terms are unclear, but the
definitions contained in The FIDE Laws of Chess will seldom be cited unless it is
necessary.
Two language approaches will be used: diachronic and synchronic. With reference to
the former, i.e. a historical approach, the etymology of particular words will be
examined using all accessible sources: etymological dictionaries, specialist articles,
books on chess history and linguistics. Not only will the author try to establish the
origin of words, but also to follow the way they were going throughout whole Europe
and sometimes Asia, as well as how they change: both in time in the process of
adaptation from one language to another.
The synchronic approach, as a study of a language at a particular time, without
analysing historical development, will contain two major subjects. The first will be the
relation between chess terminology and general language. Chess terminology can be
treated as a special language and sometimes even as a jargon. Therefore, all relations
between general and chess language such as different meanings, lexical extension etc.
will be the subject of analysis, especially in the four above-mentioned languages. In
general the following order is retained when analysing particular terms: etymology,
chess meaning, relations between chess terminology and a general language (e.g.:
meaning, fixed expressions, metaphors, idioms, sayings, lexical extension etc.) and
sometimes conclusions e.g. comparisons among particular languages.
The second subject of the synchronic approach is much more philosophical and
concerns issues of mutual relations between the vision and perception of the world, and
66
language, including mental, psychological and sociological aspects. Obviously, this
point will be presented in the modest scope of this thesis.
The last problem of linguistic analyses will be comparisons between four languages:
English, Polish, German and Russian. However, in particular when discussing the most
typical chess terms, some words from other languages will be quoted e.g. from Czech,
French, Italian, Latin, Spanish, Persian, Arabian, Turkish, sometimes in their old
versions. The author will also analyse some word families in the four languages under
discussion examine differences in derivational (sometimes also inflectional)
morphology of particular languages and try to find causes of these phenomena. In some
cases analyses of historical phonological changes will be conducted, as well.
3.1 The Origin of Chess Vocabulary
The origin of chess is undoubtedly Indian. A work Chatrang namak ‘Chess textbook’
written in Pahlavi (belonging to the group of Middle Iranian languages) has survived
since the time of the Sassanian Dynasty (AD 242-651). The Persians adopted this word
from Sanskrit where chatur meant ‘four’ and anga ‘part, unit, troop’. Besides, some
historical research proves that chess reached Iran from India with the works by the
famous fabulist Bidpai. Then chess reached Arabia (see Machalski 1951, Wikipedia,
entries: Iran Sassanid Empire, Pahlavi).
The question how chess reached Poland is extremely important for the analysis of
linguistic processes which chess vocabulary underwent, which will be discussed later.
Filipowicz (2007:13) mentions that the game might be carried with the knights who
returned from crusades, and adds that it is one of the legends explaining its appearance
in Poland. He also suggests that chess may have reached Poland from Ruthenia,
probably with the Benedictines and Cistercians, which had their seats in the eleventhcentury Poland, as it was known in Veliky Novgorod in the 10th century. Dzieduszycki,
on the other hand, does not treat carrying chess by crusaders as a legend, though, he
adds that the latest research proved that chess was known in different European
countries as early as in about 1000. In 1153 Henryk Sandomirski, the fourth son of
Duke of Poland Bolesław Wrymouth (Polish: ‘Bolesław Krzywousty’) set off on
a crusade. The Order of Teutonic Knights may also have spread chess all the more that
at that time playing chess belonged to seven attributes of a real knight besides: riding
a horse, swimming, shooting a bow, gymnastics, bird breeding and rhyming (see
Dzieduszycki 1856:11). Gątkiewicz (1928), by contrast, states that chess was probably
67
carried by the Benedictines and Cistercians at the times of Bolesław I the Brave (Polish:
‘Bolesław Chrobry’). So, chess existed in Tyniec, Międzyrzecz, on Łysa Góra, but it
was unknown to ordinary people. Only in the 12th century chess (that time called in
Poland saki) was carried again from the Holy Land by Polish knights and became
popular.
Machalski (1951) distinguishes three language layers in present-day chess
terminology representing three different culture epochs: Indo-Persian, Arabian and
European. Kleczkowski (1946:78-80) definitely states that the chess terminology in the
Medieval (probably is the 14th century) and even Renaissance Polish (Kochanowski)
contained German vocabulary, usually borrowed from Czech. An exception is the word
saki ‘the old name of chess’. The influx of Romance influence is much later (some
came into Polish via German). Eastern vocabulary is marginal and does not strictly
relate to chess.
3.2 The Most General Terms
This subchapter explains the origin of the most important chess terms in English, Polish,
German and Russian and presents some linguistic phenomena in this field.
Table 1 The Most General Terms
English term
Polish term
German term
Russian term
chess
szachy
Schachspiel,
шахматы
Schach
check (n)
szach
check (v)
szachować,
szacha
checkmate (n), mate mat, szach mat
шах
Schach
dać Schach
geben объявить/поставить
(bieten)
шах
Matt, Schachmatt
мат, шах мат
(n)
checkmate (v), mate (za)matować, dać Matt setzen/geben
поставить
(v)
mata
матовать
chess-player, player
szachista, gracz
Schachspieler,
шахматист, игрок
Spieler
stalemate
pat
Patt
68
мат,
пат
Chess, Check, Checkmate - Etymology
These three words are strictly related. Therefore, in this subchapter they are gathered
together only to explain their etymologies. When discussing other issues they will be
separated.
The English word chess is a corrupted form of checks and derives from Persian šāh.
It originally meant ‘kings’. Chess sounds similar in a great number of languages. Except
for the words given in the table above (Polish szachy29, German Schach and Russian
шахматы) Wikipedia gives among others: Belarussian шахматы, Bulgarian шахмат,
Croatian šah, Czech šachy, Danish skak, Dutch Schaak, Esperanto ŝako, Finnish Shakki,
French échecs, Greek σκάκι, Hebrew: ‫‘ שהמט‬checkmate’, Hungarian sakk, Italian
scacchi, Irish ficheal, Latin scacci, Lithuanian šachmatai, Macedonian шах, Norwegian
Sjakk, Rumanian şah, Serbian шах, Swedish schack, Turkish satranç, Ukrainian шахи.
Most of them have ‘s’ or palatalized ‘s’ - ‘∫’ as the first phoneme, then ‘a’ or ‘e’
followed by ‘χ’ or ‘k’ which may have undergone a change according to Grimms’s
Law. All the words are singular masculine or plural. Some languages (e.g. Belarusian,
Bulgarian, Hebrew, Lithuanian, Russian) retained the morpheme ‘mate’ which also
comes from Arabian root māta and meant ‘died’. Hence, e.g. Russian шахматы means
‘the king is dead’. As a matter of fact, chess is a strategic game which is a kind of
hunting for the opponent’s king.
Even such a short analysis allows to put forward the working hypothesis that chess
vocabulary is associated with the terms of war, battle, fight and should represent the
view of the world as a battlefield. Chess is a game of the kings, two commanders of
their armies. In Polish the expression królewska gra30 ‘royal game’, which is a synonym
of chess, exists. There are also German and Russian calques das königliche Spiel and
королевская игра, respectively.
As mentioned above, “the original sense of check was king! i.e. mind the king, the
king is in danger” (Skeat 1993:77). However, in present day English check as a noun
has different meanings. Macmillan (2006:230) gives the following definitions (in short):
“1) an examination of something (...); 2) something that controls another thing and stops
it from becoming worse (...); 3) pattern of squares (...); 4) the position of the king in the
29
Gloger (1985:300) states that the Old Polish name of chess was saki. On the other hand, Karpluk
(1980:88) states that the name saki was wrongly quoted by Linde. She thinks that the word saki is related
to sieć ‘net’ and was another game.
30
There is also another table game called królewska gra only partly related to chess (Litmanowicz
1986:478).
69
game of chess when it is threatened by another piece; 5) AmE the bill in a restaurant
(...); 6) AmE spelling of cheque 7) AmE a tick for showing that something is correct”.
The following conclusions can be drawn:
1. Words for chess in particular languages sound very similar and probably have the
same Indian origin (Sanskit) and reached European languages through Persian. Only
Spanish ajedrez, Estonian tuli, Irish ficheall and Welsh gwyddbwyll differ much
from the ancient stem31.
2. Considering the four main languages, only in English the words chess and check,
both as a noun or a verb, have some changes in the base32.
3. Consequently, the word ‘check’ was admitted into a general language, changing its
meaning. As listed above, only the item four exactly refers to chess. Item three also
indicates some further similarity, as a pattern of squares resembles a chessboard.
Nevertheless, most frequently used meanings of ‘check’ have absolutely nothing to
do with its original.
4. It can be said that (except for meaning 4) the word ‘check’ has been institutionalised
and demotivated. Such changes took place only in English.
5. The Polish sound of the word chess ‘szachy’ seems to be the most similar to Russian
шахматы, Latin scacci, Italian scacchi and German Schach. In the first case it
could be explained as a loss of the part mat’, whereas in the second and third one as
a palatalisation of the initial ‘s’ and a typical change ‘k’ (the letters ‘ch’ are
pronounced as ‘k’ in Italian) into ‘χ’ (the Grimm’s Law33), in the forth case as
adding back the last ‘y’. Moreover, in these four languages the equivalents of chess
have ‘i’ or ’y’ at the end34. However, this hypothesis, obviously, needs deeper
research35.
6. Only present Turkish has kept the original name of the game which was
superseding, namely chess - satranç ‘chatrang’36.
31
Wikipedia gives the name chess in 44 languages. However, a few of them like Arabic, Japanese,
Telugu are written in alphabets which differ from the Latin one.
32
According to the above mentioned juxtaposition in Wikipedia similar differences occur in Estonian,
Indonesian Irish and Spanish.
33
It would be justified if it reached Polish via German.
34
The last letter ‘i’ or ‘y’ exists in Finnish, Lithuanian and Sicilian as well.
35
Thorough research of chess terminology was postulated by professor Adam Kleczkowski cited above.
He suggests that it would allow us to better get to know history of chess and foreign influences on Polish
(see Kleczkowski 1946).
36
The word chatrang, mentioned in the historical chapter of this dissertation, derives from Persian.
A work in Pahlavi i.e. Middle Persian, which was a textbook of chess, has survived. This word was
borrowed from Sanskrit, where chatur meant ‘four and anga ‘part, unit’ (see Machalski 1951).
70
7. The transformation from saki into szachy ‘k’→‘χ’ took place in Polish. It is a
change described by the Grimm’s Law. Kleczkowski (1946:78) mentions that it is a
proof that the word szachy comes from German as it shows that this High German
word which entered the literary German language from Latin or French through
Flanders at times of the first crusades.
The word szachy ‘chess’ has been known in Polish since the middle of the seventeenth
century (see Karpluk 1980:87-89). As mentioned above Kleczkowski assumes that this
word reached Polish from German through Czech. Old Czech form of chess was ŝach.
Although Karpluk quotes another hypothesis by Zibrt that the names of chess pieces
came from Italy, both of them reject it justifying it on phonological grounds. This stand
is commonly accepted in Czech etymology.
Chess
Chess is obviously a game. However, the word chess is associated with some features of
human character. Some of them are positive: logical thinking, hard work, determination,
but other are pejorative: passivity, boredom. This subject will be analysed closer in the
item a chess-player. Now only expressions which are used above all in other sports
disciplines will be mentioned.
Sports commentators sometimes use the expression piłkarskie szachy, ‘football
chess’. Surprisingly, it is usually used when nothing special happens and the players
kick the ball in the middle of the football pitch for a long time. Similarly, watching
a hockey match, the author could hear: Szachy na lodzie. Jedni czekaja na drugich
‘Chess on ice. Players of one team are waiting for the others’. These expressions are
completely inadequate and illogical. They sound a little like the infamous wspaniała
indywidualna akcja całej drużyny ‘a brilliant individual action of the whole team’. In
fact, chess is a play full of constant tension, though, it is not as visible as in football or
volleyball. In fact, many opening variations reflect the real spirit of chess - the spirit of
a ruthless fight, full of risk and determination, of creating dynamic positions full of
breakneck complications, hardly possible to evaluate or analyse, even using computers,
of a fight full of unpredictable, surprising moves, tactical motifs, constant tension, with
play on both sides of the chessboard (sometimes including the centre) when the result of
the game is hanging in the balance from the beginning to the end of the game. This kind
of positions requires extraordinary power of concentration throughout the game as any
71
unguarded moment may result in a terrible blunder, even in a completely won position,
wasting fruits of many-hour work which is typical only of real sports of fight such as
boxing, wrestling where the final result is uncertain to the end of a fight.
To rehabilitate a little the environment of sportscasters, it can be added that some of
them have used lately the expression siatkarskie szachy ‘volleyball chess’ when the
coach replaces players at the end of a set to surprise the opponent. This expresses well
the real spirit of chess as fight.
The Russian expression в шахматном порядке ‘literally: in a chess order’ suggests
order like on a chessboard. In general, Russian seems to have many good connotations
connected with chess. Many decades of great successes have made Russian chessplayers respected in their land, which has its reflex in the language.
Check
The FIDE Laws of Chess art. 3.9 states:
“The king is said to be ‘in check` if it is attacked by one or more of the
opponent`s pieces, even if such pieces are constrained from moving to that
square because they would then leave or place their own king in check. No
piece can be moved that will either expose the king of the same colour to
check or leave that king in check.”
XABCDEFGHY
8-+-+-+-+(
7+-+-+-+-'
6-+-+-+R+&
5+-+-zp-+p%
4-+-+-zp-mk$
3+-+-trP+-#
2-+-+K+-+"
1+-+-+-+-!
xabcdefghy
The Black rook attacks White’s king. The king is in check. He must move out of
check.
72
Checkmate
The FIDE Laws of Chess art. 1.2 states:
“The objective of each player is to place the opponent`s king `under attack`
in such a way that the opponent has no legal move. The player who achieves
this goal is said to have ‘checkmate’ the opponent`s king and to have won
the game. Leaving one’s own king under attack, exposing one’s own king to
attack and also ’capturing’ the opponent’s king are not allowed. The
opponent whose king has been checkmated has lost the game.”
Greco,G - NN
Europe, 1620
1.e4 e5 2.f4 exf4 3.Nf3 g5 4.Bc4 g4 5.Ne5 Qh4+ 6.Kf1 Nf6 7.Bxf7+ Kd8 8.d4 Nxe4
9.Qe2 Ng3+ 10.hxg3 Qxh1+ 11.Kf2 fxg3+ 12.Kxg3 Qxc1 13.Nc6+ Nxc6 14.Qe8#
XABCDEFGHY
8r+lmkQvl-tr(
7zppzpp+L+p'
6-+n+-+-+&
5+-+-+-+-%
4-+-zP-+p+$
3+-+-+-mK-#
2PzPP+-+P+"
1tRNwq-+-+-!
xabcdefghy
The Black’s king is in check. After any legal move he will be still attacked. This
position is checkmate. White wins the game.
There are a number of special kinds of mates. Fool’s mate, scholar’s mate are mates
in a few moves. The fool’s mate is the shortest game ending in mate. There are eight
possibilities to mate in two moves.
73
1.g4 e5 2.f3 Qh4#
XABCDEFGHY
8rsnl+kvlntr(
7zppzpp+pzpp'
6-+-+-+-+&
5+-+-zp-+-%
4-+-+-+Pwq$
3+-+-+P+-#
2PzPPzPP+-zP"
1tRNvLQmKLsNR!
xabcdefghy
A very fast mate usually given by a queen on the square f7 (White) or f2 (Black) is
called scholar’s mate.
The other languages called it szewski mat “shoemaker’s/cobbler’s mate” or szkolny
mat “scholar’s mate”37, Narrenmatt ‘literally: fool’s mate’, and детский мат ‘childish
mate’ in Polish, German and Russian, respectively. While a fool, a child and
a schoolchild may be treated as potential candidates to lose very quickly, the association
with a shoemaker suggests that shoemakers and cobblers were not respected in old
Poland which is supported by the saying kląć jak szewc38 ‘to swear like a trooper, but
literally: like a shoemaker/cobbler’.
Smothered mate is one of the most beautiful tactical motifs. German and Russian
names are calques: ersticktes Matt and спёртый мат.
In the position in the diagram Black has a huge material advantage. Nevertheless, he
is matted after.
37
Earlier it was also known as żakowski mat ‘student’s mate’ (żak is a Polish word for ‘a student of
a medieval university’) and głupi mat ‘stupid mate’ (see Litmanowicz 1987:1192).
38
The Russian language has a calque ругаться как сапожник.
74
XABCDEFGHY
8-+rwqr+k+(
7zpl+-sn-zpp'
6-zp-vl-sn-+&
5+-zp-+-sN-%
4-+-zpp+Q+$
3+-+-+p+-#
2-+-+-+-+"
1+-+-+-+K!
xabcdefghy
1.Qe6+Kh8 (1...Kf8 2.Qf7#) 2.Nf7+ Kg8 3.Nh6+ Kh8 4.Qg8+ (The aim of this queen
sacrifice is to block the g8-squatre.) 4...Rxg8 (both 4...Nfxg8 and 4...Nexg8 give the
same effect) 5.Nf7# The last White’s piece mates the black king surrounded by all his
army!
The final position is really smothered. White mated with his last piece in spite of the
fact that Black has nearly all men. It is interesting that this mate is known in Polish as
mat Beniowskiego ‘Benyovszky’s mate’, after Maurice Benyovszky39 who was, as
Litmanowicz (1986:71) described, “a Hungarian nobleman of Slovakian descent, a Pole
by choice” (translation mine). Benyovszky is believed to have been a phenomenal
chess-player. He was a Bar Confederate and in 1768 he was captured by Russians. In
Kamchatka, where he had been sentenced to exile in 1769, he was observing a chess
game between two local dignitaries. No sooner had the game finished than he loudly
remarked that the player who lost could have won in four moves by a queen sacrifice.
The officer’s ambition got the better of him and he bet Benyovszky a big sum of money.
Benyovszky mated his in the way which is now known as mat Beniowskiego 40 (see
Litmanowicz 1986:71, Giżycki 1984:254, Wikipedia, entries: Beniowski, Benyovszky).
There is also another term usually used in chess composition epaulet mate with the
calques mat epoletowy, Epaulettenmatt and эполетный мат in Polish, German and
39
The full Polish name is Maurycy August Beniowski. He is the main character of some literary works.
Many chess episodes are present in the biographical novel by Wacław Sieroszewski ‘Beniowski’. Juliusz
Słowacki wrote a poem entitled Beniowski, however, he changed his first names into Maurycy Kaźmierz
Zbigniew.
40
Litmanowicz 1986:71 gives as a fact that this game ended in a smothered mate. However, in the abovementioned novel Sieroszewski describes the final part of the game in a different way.
75
Russian, respectively. It is a mate with two pieces blocking squares for their own king.
The game below is an example of this kind of mate in a practical game.
Fleissing,B - Schlechter,C
Friendly game, Vienna, 1893
1.b4 e6 2.Bb2 Nf6 3.a3 c5 4.b5 d5 5.d4 Qa5+ 6.Nc3 Ne4 7.Qd3 cxd4 8.Qxd4 Bc5
9.Qxg7 Bxf2+ 10.Kd1 d4 11.Qxh8+ Ke7 12.Qxc8 dxc3 13.Bc1 Nd7 14.Qxa8 Qxb5
15.Bf4 Qd5+ 16.Kc1 Be3+ 17.Bxe3 Nf2 18.Bxf2 Qd2+ 19.Kb1 Qd1+ 20.Ka2 Qxc2#
XABCDEFGHY
8Q+-+-+-+(
7zpp+nmkp+p'
6-+-+p+-+&
5+-+-+-+-%
4-+-+-+-+$
3zP-zp-+-+-#
2K+q+PvLPzP"
1tR-+-+LsNR!
xabcdefghy
The final position really resembles an epaulet. The blocking chessmen are here the
a3-pawn and a1-rook.
The words chess, check and checkmate came into general language. Checkmate (v)
has a figurative meaning ‘to thwart someone’, or ‘to make them powerless and in check
means ‘under restraint’ (Brewer 2002:231). There is an idiom to keep/hold sb/sth in
check which means “to control someone or something that might cause damage or
harm” (Macmillan 2006:230). Calque idioms trzymać kogoś w szachu and jemanden
in/im Schach halten are used in Polish and German, respectively, as well, however, their
meaning is a little different “to restrict somebody’s freedom threatening something, to
keep somebody in uncertainty”. German jemanden <einer Sache> Schach bieten means
‘to oppose sb/sth‘ (see Skorupka 2002 vol. 2:257, Czochralski 2004:422). The Russian
calque держать кого-то в шахе has a similar meaning to the Polish analogical
expression. Polish people sometimes say szachować kogoś ‘literally: to check
76
somebody’ which means ‘to put pressure’. Such expression may be found in Professor
Iwo Cyprian Pogonowski’s41 articles in political meaning concerning strategic weapons
and international relations (see Pogonowski 2009b).
There are other words which are related to check which are designations of important
national institutions: the word exchequer ‘a court of revenue’ derives from Old French
eschequier via M.E. eschekere; another word chequers is not only the name of a game
but also “a Tudor mansion in Buckinghamshire which serves as a country seat of the
British Prime Minister in office” (ODE 2006:296).
Gloger (1985:301) states that at the beginning of the 17th century chess terminology
was vivid in general language. Such preachers as the Jesuit Piotr Skarga and the
Dominican Fabian Birkowski often resorted to metaphors using chess terminology. He
quotes also after Salomon Rysiński, who in the 17th century printed Polish proverbs in
Lithuanian Lubicz, such expressions: Szachem padać (literally hardly possible to
translate) meaning ‘to be defeated’, Albo szach albo mat (literally: ‘Check or mate’)
meaning ‘loss or profit’, I w szachach przyjaciela poznać ‘You can meet a friend
playing chess’. Krzyżanowski (1972:369) adds jak w szachy grał (literally
approximately: ‘like at chess playing’) which means ‘with changeable luck’.
Russian also has the calque of the last saying как в шахматы играл, which means
both like in Polish ‘with changeable luck’ and ‘perfectly’. The Russian expressions
seem to sound more positive as chess is treated not only as gambling but as art and
something valuable. The above cited expression szachem padać also has its lexical
equivalent in Old Russian падать (перед кем-то) шахом meaning ‘to ask for mercy’.
Albo szach albo mat42 also has its calque или шах или мат with the same meaning as in
Polish. On the other hand, the Russian в шахматах друзей нет ‘chess-players cannot
be friends’ suggests that chess should be treated more as a sport and in the atmosphere
of constant rivalry true friendship is hardly possible whereas the Polish of the cited
Polish seventeenth-century I w szachach przyjaciela poznać shows that chess was rather
a parlour game making for efficient socialising.
A Chess-Player
A man playing chess is a chess-player. It is possible to say simply player, but it sounds
41
Professor Iwo Cyprian Pogonowski is a historian and lexicographer who emigrated to the USA. He very
often uses chess metaphors in his political articles written both in Polish and English.
42
In the past ‘mate’ was also called in Polish met and was related to meta ‘finish line’, cel ‘aim’.
77
much more colloquial. There are calques of English words in German whereas Polish
and Russian have two different words: one derived from chess and the other taken from
play: ‘szachista - gracz’ and ‘шахматист - игрок’. The first words in either pair are
formal and the second ones very colloquial like in English.
In present-day Polish some expressions with pejorative connotations became
common like refleks szachisty ‘chess-player’s reflex’ or myśleć jak szachsista ‘to think
like a chess-player’ meaning ‘to have a very poor reflex’ and ‘to be thinking very
heavily and slowly’, respectively. It seems that he who made them up did not know
much about chess. A chess-player needs, actually, to think very clearly, logically and
relatively quickly to have good results in this sport.
Moreover, it is a methodological blunder to juxtapose two incomparable phenomena.
A strong shot on the opponents’ goal in football or a spike in volleyball take only
a fraction of a second. A driver’s reaction must often be very quick. Although, both
a football- or volleyball-player and a driver are fully aware what they are doing, their
reactions have been trained earlier and are performed impulsively, nearly automatically.
On the other hand, all thought processes require much more time. Nobody expects that
the parliament will prepare and pass an act of law within a minute, no reasonable man
buys or sells a house in a few seconds, no teacher gives a student a while for a difficult
task. When detailed calculation of various consequences are taken into consideration,
much more time is needed. The commander on the battlefield makes his decisions
considering the whole run of the battle, but a knight must parry the opponent’s attack
immediately not to be killed. An idea (sometimes really brilliant) how to solve
a problem may come immediately, but the process of working it out is usually timeconsuming. Impulsive reactions and mental processes are simply two different things
and their speed or productivity should not be compared.
On the other hand, language is not always governed by strict rules of logic, and
perhaps they are often hidden into oblivion. Sometimes an expression might ideally
have reflected real life whereas after centuries, in different social, political conditions
(often associated with the level of technology, standard of life or changes in mentality,
customs etc.) it is hardly possible to understand or even strikes us as very strange. Well,
times change, and fixed expressions tend to be much more conservative. Moreover, it
seems that different fixed expressions, sayings and idioms are not created by specialists
in particular fields or linguists but ordinary people who know little about the heart of the
matter. They usually have, on the other hand, quick minds, biting tongues and are sharp78
witted. However, they recognise only superficial facts, visible to a layman observer.
Therefore, they often draw inappropriate conclusions. Nevertheless, expressions coined
in this way, exist in a language for ages.
Bańko (2004:199-200) adds to the abovementioned refleks szachisty ‘chess-player’s
reflex’ two other expressions refleks szachisty korespondencyjnego ‘the reflex of
a correspondence chess player’ refleks szachisty korespondencyjnego z czasów poczty
konnej ‘the reflex of a correspondence chess player at times when postmen rode horses’.
Such a chess-payer really did not have to have a good reflex... Incidentally, another
saying is still quite popular among correspondence chess-players: refleks szachisty
korespondencyjnego na emeryturze ‘the reflex of a retired correspondence chess-player’
Moreover, there was no limit of time in chess in the past and a chess-player was never
in a hurry and a player, who had a lost position, could even get on his opponent nerves
intentionally playing very slowly.
Bańko describes the phenomenon as a hyperbole - the exaggeration of opposites and
gives as an example zachowywać sie jak słoń w składzie porcelany ‘literally: to behave
like an elephant in a china storehouse’ with its English equivalent like a bull in a china
shop. Obviously, neither elephants, nor bulls visit china shops. The point is here to
contrast a huge animal with fragile porcelain.
In Russian a calque of the expression ‘chess-player’s reflex’ is not used. However,
думать как шахматист ‘to think like a chess-player’ is popular and means “to
consider a difficult problem to think for a long time, to think efficiently” and sometimes
“to lose touch with reality”. In English this expression has a similar meaning.
The Stalemate
Stalemate is one of the most typical chess terms which entered the general language as
a situation in which progress is impossible. The Old English word for stalemate is stale.
The compound suggests that mating failed (stale is something not fresh in contemporary
English). However, English dictionaries give a different etymology of this term. (ODE
2006:1721) suggests that stalemate derive from “obsolete stale (from Anlo-Norman
French estale ‘position’, from estaler ‘be placed’)”. Skeat (1993:464) gives Old French
“estaler, to display wares on stalls; from estal, a stall”.
Once again the English language breaks out of the general rule as nearly all
languages have this word with a stem ‘pat’. However, a detailed analysis of the way
how this word reached particular languages is unclear due to contradictory pieces of
79
information in different sources. Most of them suggest Spanish, French or Italian origin.
Tokarski (1980:557) gives Spanish pato and Italian patta meaning ‘draw (n)’. Wermke
(2001:595) suggests the borrowing from French pat. Litmanowicz (1987:865) seeks the
origin in the Italian patto ‘condition’ which must be dubious as above mentioned Italian
word patta matches much better the present meaning. Zgółkowska (2000:42-43)
attempts to reconcile these opinions suggesting the following way: Spanish pato →
French pat → German patt Polish pat. As faithful work as Doroszewski (1965 vol.
6:183) also confirms the Spanish origin of this word. Unfortunately, all Spanish
dictionaries state that pato means ‘drake’... Moreover, neither present-day Spanish nor
Italian use the above mentioned words pato and patta for ‘stalemate’ but ahogado43 and
stallo, respectively.
A stalemate is a position in which a player who is to move is neither in check nor is
able to make any legal move. Stalemate ends the game, which is then drawn. It usually
occurs when one side has only a king or very reduced material. However, Sam Loyd,
the most famous American chess composer, made up a game with a stalemate with all
men on the board. This really unusual situation may appear after
1.d4 d6 2.Qd2 e5 3.a4 e4 4.Qf4 f5 5.h3 Be7 6.Qh2 Be6 7.Ra3 c5 8.Rg3 Qa5 9.Nd2
Bh4 10.f3 Bb3 11.d5 e3 12.c4 f4
XABCDEFGHY
8rsn-+k+ntr(
7zpp+-+-zpp'
6-+-zp-+-+&
5wq-zpP+-+-%
4P+P+-zp-vl$
3+l+-zpPtRP#
2-zP-sNP+PwQ"
1+-vL-mKLsNR!
xabcdefghy
One of typical stalemate motifs is so called desperado piece. In the game Evans,L 43
In general language ahogado means ‘stifling’, which reflects well the idea of stalemate.
80
Reshevsky,S, USA-ch New York 1963 Black had a knight up and could easily have
won after 48…Qg6 49.Rf8 Qe6 50.Rh8+ Kg6 as 51.gxf4 leads to a mate after
51…Re1+. Nevertheless he played
XABCDEFGHY
8-+Q+-+-+(
7+-+-+Rzpk'
6-+-+-+-+&
5+p+-zp-wqp%
4-zP-+Psn-zP$
3+-+-+PzP-#
2-+-+r+-+"
1+-+-+-+K!
xabcdefghy
48...Qxg3?? 49.Qg8!+ Kxg8 50.Rxg7+! and the opponents agreed a draw.
XABCDEFGHY
8-+-+-+k+(
7+-+-+-tR-'
6-+-+-+-+&
5+p+-zp-+p%
4-zP-+Psn-zP$
3+-+-+Pwq-#
2-+-+r+-+"
1+-+-+-+K!
xabcdefghy
Now after both 50…Qxg7 and 50…Kxg7 White is in stalemate and 50…Kf8 51.Rf7+
Ke8 52.Re7+ Kd8 53.Rd7+ is a typical desperado rook. The German name of this motif
is the same figuratively showing some desperation whereas Polish and Russian call this
motif wściekła wieża and бешеная ладья, respectively, which literally means ‘furious
rook’. It seems to be still more metaphorical.
The chess word stalemate entered many languages as a deadlock, situation in which
81
progress is impossible. It has its equivalents: sytuacja patowa, Pattsituation and
патовая ситуация in Polish, German and Russian, respectively. We can say about
military or political stalemate.
However, these expressions, contrary to English, usually are not nouns but always
consist of the adjective derived from the noun corresponding to English stalemate and
a noun which corresponds to English situation. There is also, the verb stalemate which
may mean both to stalemate one’s opponent in chess and to cause an impasse, e.g. in
negotiations or block something, e.g. progress. The Polish equivalent verb zapatować is
used only in chess meaning whereas the Russian запатовать is sometimes used
figuratively, as well.
3.3. Chessboard and Chessmen
"A chessboard is composed of an 8x8 grid of 64 equal squares alternatively light (the
‘white’ squares) and dark (the ‘black’ squares).
The chessboard is placed between the players in such a way that the near corner square
to the right of the player is white” (The FIDE Laws of Chess, art. 2).
XABCDEFGHY
8-+-+-+-+(
7+-+-+-+-'
6-+-+-+-+&
5+-+-+-+-%
4-+-+-+-+$
3+-+-+-+-#
2-+-+-+-+"
1m+-+-+-+-!
xabcdefghy
The name szachownica ‘chessboard’ was known in Old Polish44 as early as in 1420 in
44
There are some slight incompatibilities in defining periods of the Polish language. Wikipedia, basing
on Białous (2009), gives Old Polish between old times and the beginning of the 16 th century, Middle
Polish from 16th till 18th century, Modern Polish from 19th century till 1930 and Present-day Polish after
1930 onwards.
Klemensiewicz (1999) divides the development of the Polish language into the following periods: Old
Polish from the middle of 12th century till the turn of the 15th and 16th centuries Middle Polish from the
beginning of the 16th century till the 1860s, Modern Polish till 1939. He does not mention later period.
82
a heraldic function. Another form was warcabnica ‘draughtsboard’. This word appeared
earlier in Czech ŝachovnici and in Ruthenian ŝachmatnica.
The terminology connected with the chessboard is gathered in the table 2.
Table 2 The Chessboard and its Elements
English term
Polish term
German term
Russian term
chessboard
szachownica
Schachbrett
шахматная доска
square
pole
Feld
поле
light
białe
weiβ
белые
dark
czarne
schwarz
чёрные
line
linia
Linie
линия
rank
linia pozioma
Reihe, Horizontale
горизонталь
file
linia pionowa
Vertikale, Linie
вертикаль
diagonal
diagonala, przekątna Diagonale
диагональ
Let us return to the term chessboard. The Polish equivalent szachownica has also
a metaphorical meaning. Skorupka (2002, vol. 2:257) gives szachownica pól, gruntów,
łąk, ugorów, posadzki ‘chessboard of fields, grounds, meadows, fallows, floor’ in a
literal translation. There are also some a slightly archaic expressions with szachownica
referring to war strategy: puścić się szachownicą ‘to attack in the formation resembling
a chessboard’, rozwinąć (się), rozwinąć (się) w szachownicę ‘to move into a line
resembling a chessboard’ (see Skorupka, 2002, vol. 2:257). In the past, Polish
szachować meant not only ‘to check’ but also ‘to divide a surface into squares’. In the
sixteenth-century Polish there was also an adjective from szachy ‘chess’ - szachowany
meant ‘in a pattern of squares or embroidered’ (see Reczek 1968:480). There are also
metaphorical expressions like globalna/światowa szachownica (see Jasiński 2007,
Jackowski 2008) with its Russian calque мировая доска ‘literally: global/world
chessboard’ meaning ‘the area of important events’. One of the sentences in the latter
Polański (2003:448), invoking Klemensiewicz (Polański gives only the name Klemensiewicz and his
references to Polański’s books include a few titles by Klemensiewicz but not cited in this thesis
Klemensiewicz 1999), distinguishes three periods: Old Polish from 10th till 16th century, Middle Polish
from 16th century till 1780 and Modern English from the time of the Enlightenment onwards.
However, the reader must be aware that this kind of scientific classification may not be generally
accepted. Common knowledge and even many authors use the term Old Polish without overtly defined
dates, approximately all writing before the epoch of Romanticism. Therefore, the author always, if it was
possible, gives the date of a particular source e.g. “in the seventeenth-century Polish”, in order to be as
precise as possible.
83
article is very characteristic: “Today it is visible with the naked eye that the world is
a huge chessboard on which pawns and pieces battle each other intensely over oil, gas,
uranium, and other natural resources...” (translation mine). Professor Iwo Cyprian
Pogonowski, mentioned earlier, also used the word chessboard or the Polish equivalent
szachownica in his articles as a place of political and military events e.g. ‘Poland (...)
may be a sacrificial peon45 on the world chessboard’ (Pogonowski 2008) or “which
[Poland] is treated as a pawn to be sacrificed on the world politics chessboard of the
ruling financial elite” (see Pogonowski 2009a). Similar expressions can be found in
Pogonowski 2009b and 2009c. German er ist ein Bauer auf dem politischen Schachbrett
‘he is a pawn on the political chessboard’ sound very similar. It is worth noticing that
these metaphors are typically military contrary to the earlier ones which were more
geometrical. A chessboard is here a battlefield and pawns and pieces - two sides of a
conflict which have a different force.
The English words chequer (BE) and checker (AmE) mean a pattern of squares,
similarly as adjectives chequered (BE), checked (AmE) and a modifier check. These
words probably derive from the original meaning of check ‘king’, which was mentioned
earlier.
The Russian expression расположенный как квадраты на шахматной доске
‘literally: arranged as squares on the chessboard’ represents the same idea, however, the
connection with chess manifests itself still more clearly here.
The next rows of the second juxtaposition illustrate some incompatibilities between
English terms and their equivalents in other languages.
The term square has been associated with the shape of the smallest element of the
board, whereas in the other languages it is an appropriate equivalent of field, which
means in all languages an open area. It shows that the chessboard was perceived in
different ways - as a set of geometrical figures of fields. Obviously, field and its
equivalents in examined languages are also terms used in geometry, but in this case they
must be treated as a part of a great battlefield which is the whole chessboard. The latter
term goes much better with the fact that chess is a strategic game.
The English term square derives from Latin quadrus which had the same meaning
whereas English field and German Feld (Old English form of this word was the same as
45
The words pawn and peon have the same origin (see ODE 2006:1292, 1304).
84
in present-day German) have West Germanic origin and are related to Dutch veld. On
the other hand, Slavonic pole (Polish) and поле (Russian). Pole is commonly believed
to be an original Slavonic word, though Ситникова (2004:173) and DługoszKurbaczowa (2003b:402) suggest that it be related to Latin palam ‘openly, overtly’. In
fact, all Slavic equivalents sound very similar: Czech and Slovakian pole, Ukrainian
półe, Slovenian poijê, Bulgarian polé which come from Protoslavonic *polje. It is also
related to both German Feld, English field and Latin planus ‘flat, level’ and Greek
pelanos ‘thin, flat’ (see Długosz-Kurbaczowa 2003b:402-403, and Brückner 1957:429).
The word pole should be close to Poles as the name of the country Polska ‘Poland’ is
historically a regular feminine adjective derived from the noun pole (see Długosz
Kurbaczowa 2003b:402-403).
It is worth adding that in Polish pole is the root word for many derivates, in particular
nouns. Długosz-Kurbaczowa (2003b:403-404) gives about thirty(!) examples e.g.
polana ‘clearing’, polowanie ‘hunting’ polować, ‘hunt’ polonez ‘polonaise’ polowacz
‘hunter (not used in present-day Polish)’, polski ‘Polish’. It is much more productive
than its Germanic or even Russian counterparts.
The word field has many military connotations in all examined languages (given in
Polish, German, Russian and English, respectively, e.g. polec na polu chwały, auf dem
Felde der Ehre fallen, погибнуть на полю славы ‘die/fall in the field’46; dotrzymać
pola, удержать поле ‘to hold the field’; wyruszyć w pole, zu Felde/ins Feld ziehen
пойти в поле, ‘to take the field’. English idioms a level playing field and level the
playing field describing the situations where everyone has the same opportunities is a
metaphoric transplantation of the word field to other most competitive spheres of life
such as sport, business, politics.
Squares have two colours. Although the cited definitions according to The FIDE
Laws of Chess gives alternative forms: light/white and dark/black, as a matter of fact,
the terms white or black square occur extremely rare in chess publications. The
designations light and dark seem to be more precise since squares are hardly ever white
and black (usually cream-yellow and dark-brown), because it would cause too much
contrast making eyes tired. Nevertheless, the Poles always call light squares - białe
‘white’ and dark - czarne ‘black’, independently of their real colours. As the same
situation occurs in other languages, the author can only guess that in the past the colours
46
In literal translation the other languages add to the noun field ‘of glory’, ‘of honour’ and ‘of fame’,
respectively.
85
of squares were exactly white and black.
The terminology connected with the term line deserves consideration. Hooper
(1987:187) defines it as “all the squares on any file, rank, or diagonal”47, but this term
and it is practically not used in English. The English language has two different words:
rank for a horizontal row and file for vertical column (see The FIDE Laws of Chess art.
2.4). Analogously, Russian has горизонталь and вертикаль. German has calques of
them, though, the term Linie ‘line’ and Reich ‘rank’ are also used. Polish uses
descriptive expressions given in the table 3. The Polish words rząd and kolumna’ which
are the equivalents for ‘rank’ and ‘file’ are used only when describing a chessboard
a chess notation.
“A straight line of squares of the same colour, touching corner to corner is called a
diagonal”(The FIDE Laws of Chess art. 2.4). A diagonal is defined by the coordinates of
the squares at each end. The a1-h8 and h1-a8 diagonals are called long diagonals.
The first conclusions seem to be quite surprising. A juxtaposition of two Germanic
and two Slavonic languages could suggest that some discrepancies will occur between
the two different groups of languages. However, the results of the analysed material
show something completely different. The vocabulary in Polish, Russian and German is
coincident (usually as calques) whereas English differs somewhat in some words. This
phenomenon has occurred so far when analysing the word game. In the table 2 it
concerns all words describing squares and lines on the chessboard as well as the wordorder. Looking for the causes of such a phenomenon goes beyond the scope of this
dissertation and would need thorough historical, linguistic and social research. For
example, examining the word dark versus calques of black in other languages we would
have to have some information about the real colours of the squares when the
vocabulary was being formed. Contemporary man often imagines old things in the way
they exist nowadays. Giżycki’s work (1984:53) proves how deceptive this kind of
image may be. He states that it was not until the 14th century that the chessboard
consisted of squares of two colours: white and black or light and dark. Earlier chess had
been played on a monochromatic board divided into squares by lines. Moreover,
monochromatic chessboards have been used in the Far East up to now. Another
47
It is interesting that neither Litmanowicz (1986:525) nor Bönsch (1989:57) regards diagonals as lines.
Chess Codes of particular federations are official of The FIDE Laws of Chess, and therefore they cannot
explain these problems.
86
conjecture may be that English people do not like too extreme expressions and dark
sounds more moderate than black.
Chessmen
Obviously, a chessboard can never be empty. Each player has initially 16 chessmen as
shown on the diagram below and specified in the table 3.
ABCDEFGHY
8rsnlwqkvlntr(
7zppzppzppzpp'
6-+-+-+-+&
5+-+-+-+-%
4-+-+-+-+$
3+-+-+-+-#
2PzPPzPPzPPzP"
1tRNvLQmKLsNR!
xabcdefghy
Table 3 The Chessmen
English term
Polish term
German term
Russian term
Chess
and symbol
and symbol
and symbol
and symbol
symbols
chessman, man
bierka
Schachstein, Stein фигура
piece
figura
Schachfigur, Figur фигура
major piece
ciężka figura
Schwerfigur
тяжёлая фигура
minor piece
lekka figura
Leichtfigur
лёгкая фигура
exchange
jakość
Qualität
качество
king
król
König
король
K
K
K
K
queen
hetman
Dame
ферзь
Q
H
D
Ф
87
K
k
Q
q
rook/castle
wieża
Turm
ладья
R
W
T
Л
bishop
goniec
Läufer
слон
B
G
L
С
knight
skoczek, koń
Springer, Rössel
конь
N
S
S
К
pawn
pion/
Bauer
пешка
Weiβ,
белые
pionek
White
R
r
L
l
N
n
P
p
48
białe
Anziehender
Black
czarne
Schwarz,
чёрные
Nachziehender
There are some discrepancies in opinions what was the general name of chessmen in
Old Polish. Karpluk gives szach (n) which is the singular form of szachy49 (chess).
Wróbel (1951:181), on the other hand, suggests using the word kamień ‘stone’, which
was a German calque of Stein, and only in the 1930s was it replaced by Old Polish word
bierka.
A piece is a general designation for a king, a queen, a rook, a bishop, a knight.
Chessmen are pieces and pawns. Major pieces are: a queen and rooks whereas bishops
and knights are minor pieces. The English terminology consists of an expression line
piece which is defined as “a piece that can be moved any distance along a line; the
squares thus traversed must be unoccupied but the square to which such a piece is
moved may be occupied by an enemy man which is thus captured and removed from the
board. Orthodox line-pieces are the queen, rook, and bishop” (Hooper 1984:187).
Although the term line piece can very easily be calqued, it is not used in the other
languages (to be truthful, it is very rarely used in English, either). Another problem is
the need of defining some fundamental terms. As mentioned above (footnote 47 p. 86)
even such a simple notion as line is understood by various authors in different ways. For
a long time the Polish historian of chess, chess coach and journalist has been trying to
sort out chess terminology.
The exchange is “the capture of a rook by one player and a minor piece by his
48
49
A pawn sometimes had symbol ‘P’ in some Polish old notation systems.
Szachy ‘chess’ occurs only in the plural in present-day Polish.
88
opponent. The player who captures the rook ‘wins the exchange’” (Hooper 1984:108).
Obviously a player can lose the exchange, be the exchange up/down,50 have
compensation for the exchange etc. The other languages have calques of the word
quality. Burkhard Granz’s Chess Vocabulary in 16 Languages (the Internet) the
juxtaposed words in all languages51, except for English, have general meaning quality
and nearly all sound very similar which proves that they derive from the Latin word
quālitās. Such terms as kwalitas, kwalitet and qualitas were still present in Polish chess
terminology in the interwar period.
The word exchange is another example of some kind of isolation of English from
other languages, even Germanic ones.
The difference between a chessman and a piece is flexible in particular languages,
especially in the plural. Polish figury ‘pieces’ are a colloquial synonym of bierki
‘chessmen’. This name was used by Jan Kochanowski in his poem Szachy
(Kochanowski 1966). The words piece, bierka ‘chessman’ and Stein ‘literally: stone’
sound much more like tools compared with the humanlike chessman. Moreover, as it
was mentioned earlier, English names of pieces represent particular classes of medieval
society. Russian does not distinguish between chessmen and pieces. However, if we
juxtapose pieces with pawns e.g. У белых три пешки за фигуру ‘White has three
pawns for the sacrificed piece’, фигура always means a piece, not a chessman.
Another difference deserves attention: the expressions major/minor pieces in the
other languages have equivalents of heavy/light pieces.52 Once again English differs
from the three other languages.
What is worth noticing, the names of chessmen are not accidental and suggest that
the game has a strategic or even military character. As a matter of fact, a comparison
with two armies standing each opposite the other with their commanders and various
formations of soldiers is quite adequate.
Machalski (1951) gives the following Old-Arabian names of particular chessmen: alszach ‘king’, al-firzan ‘queen’ (literally ‘sage’, ‘learned’ (n)), al-roch ‘rook’ (literally
‘tower’), al-fil - ‘bishop’ (literally ‘elephant’), al-faras ‘knight’ (literally: ‘horseman’),
50
These chess expressions harmonise with Lakoff and Johnson’s cognitive theory: “’More is up, less is
down” Lakoff (1980:15). The expression “to be sth up/down” is typical of English. The other languages
use construction like “to have sth more” (cf subchapter 2.6.2.4).
51
The author was not able to establish the general meaning of Chinese word zhiliang.
52
Although McDonell in his dictionary (the Internet) gives two alternatives for major pieces: “heavy
pieces” and “heavy artillery” they are rather rarely used.
89
and al-beizaq ‘pawn’ (literally - infantryman). Czarnecki (1980:18) states that all these
words are of Persian origin and gives rukh instead of al-roch.
The King
The king is most important in chess not because of his strength but rather
vulnerability53. Like in a real battle, he usually needs a safe place. As mentioned, the
name chess derives from king, thus in all languages the name of the piece means
somebody who rules an independent country.
The word król is believed to derive from the name of the ruler of the Franks, Charles
the Great (Latin: Carolus Magnus or Karolus Magnus) reigning in the years 768–814.
This means ‘belonging to the tribe or son of the tribe’ (translation mine) (Wermke
2001:435). Anglo-Saxon cyn meant ‘tribe’. Hence, after adding the suffix -ing cyning
arose. The similarity to the German König is striking here. Also in other languages the
word king sounds very similar e.g.: Old Saxon kuning, Swedish konung (Skeat
1993:232). Kochanowski (1966) calls also the king Pan ‘Lord.’54 It is worth mentioning
that the term carь was used in Old Polish. It can be found in some seventeenth-century
manuscripts (see Karpluk 1980:92).
Other forms of the word are: Czech and Slovenian král, and Croatian and Serbian
králj. The word did not get into Polish directly from French but through vulgar Latin
(Proto-Roman) Carlius, Carleus (about the ancestors of Charles the Great) (see
Bańkowski 2000 vol 1:824, Boryś 2005:262).
However, the Turkish name to designate the king is şah, referring to the Old Persian
šāh mentioned above, which is the former name of monarchs in the Middle East.
In more ornate style annotators use also the name monarch with its equivalents
monarcha, Monarch and монарх in Polish, German and Russian, respectively.
It is quite interesting that words, that are semantically very close: king, reign55, and
royal have in English different roots whereas in some languages they are natural
derivates e.g. in Polish, respectively: król, królować, królewski. Both reign, and royal
come from Latin: regere ‘rule’, rex ‘king’. Analogously, in German there is a verb
regieren ‘reign’ with a different root than in the word König. In Russian a verb derived
53
The king was in fact the strongest piece before the reform of chess rules.
Not all words describing chessmen used by Kochanowski (1966) in his poem Szachy refer to the real
names existing in the 16th century. The poet did not care for precision but treated them rather as heroes of
a fight.
55
The verb to king means in English to make somebody a king and not to be a king and reign a country.
54
90
from король does not exist, either. However, there are two other words: царствовать
and царить, which can be easily explained by another way of naming the country
leader: цар ‘tsar’. Nevertheless, the last two languages have adjectives derived from the
appropriate calques of king: ‘königlich’ and ‘королевский’.
The Queen
The next piece’s name is much more diverse and changeable in time in particular
languages. Hooper (1984:271) explains the story of the word queen as follows: “The
use of the word queen was early and widespread, but the origin of the name is
enigmatic. The Arabic firz of FIRZĂN ‘counsellor’56 was never translated into
a European language although it was adopted in various forms, changing its gender
from masculine to feminine. Long before the modern game was introduced this ancestor
of the queen was called dame and is still so called in France. Chess-players may have
borrowed the word from the game of draughts which the French to this day call jeu de
dames. The transition from dame to queen would be a natural desire to pair the central
pieces”.
As a matter of fact, the word dame ‘lady,57 is borrowed from French and originally
comes from Latin domina (see Długosz-Kurbaczowa 2003b:98-99). In most languages
queen is a calque of Frech dame or English queen (e.g. German, Spanish, Dutch,
Italian). As a matter of fact the colloquial forms: Polish królowa or królówka
(a deformed form of królowa), German Königin and Russian королева mean exactly the
same - ‘queen’. However, in some languages the root is different. Polish hetman,
Turkish vezir Hungarian vezér have similar meaning – commander. To the same group
can be added the Russian ферзь.
The word hetman comes from Middle High German hētman, höuptman, houbetman leader, commander, hence Hauptmann (haupt - ‘head’, Mann - ‘man’) (see Bańkowski
2000 vol. 1:527). The word hetman was known as early as in the 15th century in the
form etman (see Brückner 1970:171).
The German word Hauptmann was made up as a calque of the Latin capitaneus from
caput ‘head’. Czech hejtman, Ruthenian ataman, Slovenian hegtman, Polish hetman
and Lithuanian (from Polish) atmonas, etmonas come from the same German word. The
old national Polish name of the commander is wojewoda. It may be etymologically
56
57
Litmanowicz (1986:347) and Giżycki (1984:20) translate firzān as ‘vizier’ (remark mine).
The word lady is sometimes used instead of queen in present-day English chess jargon.
91
translated as somebody who leads warriors (woj is exactly ‘warrior’ and wodzić meant
‘lead’ in Old Polish). Each prince belonging to the dynasty of Piasts58 was the first
wojowoda as the commander of his knights. The main wojewoda, who substituted the
king, was called hetman (see Gloger 1985:248).
Nevertheless, in chess the name hetman appeared relatively late. The opinions
concerning Old Polish names of the queen are divided. Different sources give: królowa
‘queen’, which has been a more colloquial synonym of hetman up to now, pani ‘lady’,
baba ‘an augmentative form of woman’, dama ‘a more distinctive form of lady’.
Kleczkowski (1946:79) adds: żona ‘wife’, małżonka ‘spouse’, królewska miłośnica
‘king’s lover’. The date of the change of the name are also different: Litmanowicz
(1986:347) and Wróbel (1951:182) give the 19th century, whereas Kleczkowski even
before the 17th century. The same is with the reason. Litmanowicz states that the reason
of the change was very practical - an improvement and a simplification of chess
notation, since both król and królowa start with the same letter ‘k’59, Wróbel, on the
other hand, claims that it was a proposal by Krupski, who suggested that dama ‘lady’
should not be the strongest piece.
The English word queen has a different root than king, in contrast with the other
equivalent pairs: król - królowa, König - Königin, король - королева in Polish, German,
and Russian, respectively. (It is worth noticing that the same phenomenon occurs in the
above mentioned pair king - reign). The word queen is of Germanic origin and in most
old languages meant woman, wife or female. The related forms are among others:
Anglo-Saxon cwén, Icelandic kván, Danish quinde, Swedish quinna, Gothic kwens,
kweins, kwino, Old High German guená (see Skeat 1993:384).
There are verbs related to the name of the strongest piece: in English to queen means
‘to promote a pawn to a queen’ whereas the Polish verb hetmanić meant in the past ‘to
be a main commander, to hold the power of the main commander’ (Holly 2001:131).
The Rook
The piece moving along ranks and files is a rook. Although dictionaries give also the
58
The dynasty of Piasts reigned in Poland till the death of Kazimierz the Great in 1370. The halflegendary progenitor of the dynasty was Piast. The son of Piast, Siemowit, (9th century) became the
prince of the tribe of Polans (Polish Polanie). The first ruler from the dynasty of Piasts whose existence
has never been questioned was Mieszko It, Siemowit’s great grandson, who died in 992 (see Wikipedia,
entry: Piastowie).
59
The same situation does not hinder in English: king and knight start with the same letter. The pieces
have the symbols K and N, respectively in accordance with the first pronounced letters.
92
other term castle60 which was widely known in 17th and 18th century in England (see
Wikipedia, entry: Rook, citing Sunnucks 1970), it is hardly used in publications these
days but only in colloquial language. The main meaning of the word rook is, obviously,
a black bird like a crow. However, these two words have different origin. Rook, as
a chess piece, derives “from Old French rock based on Arabic ruķķ (of which the sense
remains uncertain)” (ODE 2006:1530). Skeats (1993:406) adds Persian rokh which “is
said to have meant ‘warrior’”. Wikipedia (entry: rook) gives Sanskrit rath and Persian
rokh explaining both words ‘chariot61’. ’Litmanowicz (1987:1322) gives here Arabian
al-roch and Persian taken from Old Indian rukh which meant ‘chariot’. He suggests that
in early European terminology the name evolve from chariot towards corner tower, or
tower. In fact, in most languages rook is an equivalent of tower e.g.: German Turm,
French tour, Italian torre, Hungarian bástya; Dutch toren or castle like in English.62
Russian also has the colloquial name тура. Although is not translated as tower, it
sounds very similar to the previous few words and might have had this meaning in the
past. Turkish kale has similar meaning ‘fortress’, ‘stronghold’, but also goal in sport.
Only Russian has an original name ладья, which is an Old Russian word derived from
Old Slavonic oldъ - ‘boat’ (see Ситникова 2004:114). That is why that the shape of this
piece in Ruthenian chess resembled a boat (Karpluk 1980:96).
The Polish name wieża derives from the old form wèża which meant ‘tent’. Since the
top of a tent is pointed, the name was transferred into a building (see Boryś 2005:698).
In the sixteenth-century Polish the rook was called roch (see Holly 2001:318,
Litmanowicz 1987:1323, Kochanowski 196663). It was a borrowing from Czech, from
German (Karpluk 1980:96).
In the past the word wieża ‘tower’ was associated with a prison, both in English and
Polish. The Tower of London used to be a state prison. In Old Polish there were such
expressions as kara wieży64 ‘imprisonment’ or wtrącić do wieży ‘to send somebody to
prison’ (see Skorupka 2002, vol. 2:568). There is also a Russian word тюрьма (prison),
60
The etymology of the word castle is explained in the subchapter Moves, under item Castling.
“Persian War Chariots were heavily armoured, carrying a driver and at least one ranged-weapon bearer,
such as an archer” (Wikipedia, entry: Rook).
62
Obviously, the word tower is associated with a castle. One of Ukrainian chess coaches who has been
working in Poland for many years observed that small children often called the rook zamek - the Polish
equivalent of ‘castle’.
63
Kochanowski uses the term słoń ‘elephant’ (and as a matter of fact the tower placed on an elephant) as
well, however, it might have been a product of poetical imagination of the author.
64
The tower as a prison was divided into two parts: bottom and upper one. The upper part was a prison
for noblemen. There was very often no guard, no lock in the door or bars in windows as honour of
a nobleman did not allow him to take advantage of an opportunity to escape.
61
93
sounding like German Turm. In the Polish language, Adam Mickiewicz still in the 19th
century used the word turma, meaning ‘prison’, ‘jail’, as well.
However, the word tower has also very positive connotations, particularly in
religious texts. We pray in the Litany to Our Lady: “Tower of David / Tower of ivory”.
Tower is here the symbol of fortress, strength, deep faith, steadiness.
The idiom to live in ivory tower means ‘to live in separation’, avoiding any
unpleasant situations of real life. Rees (2004:152) states that “the expression comes
from Sainte-Beuve writing in 1837 about the turret room in which the Comte de Vigny,
the French poet, dramatist and novelist, worked. He described it as his tour d’ivoire,
possibly after Song of Solomon 7:4 ‘Thy neck is as a tower of ivory; thine eyes like
fishpools...‘” However, the Polish calque of ivory tower ‘wieża z kości słoniowej’ is
a symbol of a place of isolation from the world in order to deal with loftier things. The
idiom zamknąć się w wieży z kości słoniowej ‘literally: to lock in ivory tower’ is also
associated with separation aimed at noble things. The Russian equivalent закрыться
в башни из слоновой кости also means a safe place.
The material juxtaposed shows that although Polish English and Russian idioms refer
to isolation the causes are quite different. The Polish version is positive whereas the
English is negative. In order to assess this phenomenon let us return to the original
biblical texts. The classical exegesis of Song of Solomon called more often Song of
Songs presents a few layers of this verse: one natural: love of a man for a woman and
another allegorical: relation between God and his people, and then between Christ and
Church. The full sound of the cited verse 7:4 according to KJVB is: “Thy neck [is] as
a tower of ivory; thine eyes [like] the fishpools in Heshbon, by the gate of Bathrabbim:
thy nose [is] as the tower of Lebanon which looketh toward Damascus”. It describes the
beauty of the beloved woman and the expression a tower of ivory does not have even
a shadow of negative meaning. The same phrase existing in the litany mentioned above
is also definitely positive. Therefore, the only conclusion is that the original meaning of
the expression ivory tower has been distorted in English.
The Polish the term wieża is a very productive word for many sayings proverbs and
idioms. Krzyżanowski (1972, 685-686) gives among others: Ceremoniują się jak
Opaccy do wieży (literally: ‘They are making a lot of fuss like the Opackis before going
to the tower’) meaning ‘they do not hurry’; Kto chce na wieżę wejść przystawić musi
drabinę “Who wants to climb the tower, he must put a ladder up”, Wieża im wyższa tym
94
rychlej upadnie” “The higher the tower is, the faster it will collapse” Nie schronią
wieże, gdy Bóg nie strzeże” ‘If God does not guard, towers will not protect’.
The Bishop
The next piece - bishop has different names in various languages. Originally a bishop is,
obviously, a hierarch of the Church. However, the shape of the upper part of this piece
resembles a bishop’s mitre. It might have been a good way to Christianize chess, as
well. In more ornate style it is sometimes called prelate.
The word bishop comes from Greek episkopos, (Latin episkopus) and means
overseer (see Skeat 1993:418). “The origin of the name [bishop as a chessman] is
obscure, but it has been used in English-speaking countries since the 15th century when
this piece took the place of the
AUFIN
used in the old game. The move of the bishop, so
different from the aufin, is the same as the move of the COURIER in the game of that
name introduced long before modern chess” (Hooper 1984:33). It is worth noticing that
in some languages the bishop is called courier or messenger (Polish goniec) or runner
(German Läufer, Hungarian futó). Italian has alfiere ‘warrant officer, squire, armourbearer’ whereas Frech fou65 ‘fool, clown, jester’ and Russian слон (elephant) which is
the only name coinciding with the ancient words: Indian fil, Persian pil and Arabian alfil, meaning ‘elephant’.
However, the stem of the Russian слон ‘elephant’ is quite different from the above
cited. The word derives from Slavonic slonь or slonъ, which was the name of an exotic
animal and came from an oriental word: Turkish arslan ‘lion’, Tatar, Azerbaijan and
Kurdish aslant. Since the Slavs of that time hardly heard of such exotic animals, they
were confused. It is worth mentioning that elephants were sometimes used in ancient
battles, e.g. by Hannibal. The other, colloquial Russian name of the bishop is офицер
‘officer’. Hence, Russian names of the bishop look the most military.
The Polish word goniec meant ‘mounted messenger, a soldier carrying battle
despatches’. The old form is gonьvъ from goniti ‘chase’. However, this meaning is not
original. Earlier it refers to any mounted warrior. At times when they were rare at Slavs,
they were used for chasing after enemy’s slaves. Mikołaj Rej uses the word honiec, as
well (see Bańkowski 2000 vol. 1:454).
The German Läufer comes from Middle High German löufer from Old High German
65
Instead of the abovementioned bishop’s mitre the (chess) bishop could have a clown cap.
95
loufari and meant ‘messenger, courier, servant’. In present day German the word Läufer
has changed its meaning. Piprek (1972:17) gives as many as eleven meanings of this
word and none of them is connected with any service. However, it does not mean that
there is nothing between the old words and the new meanings. What they have in
common is an element of movement - a courier delivered messages. So it is no wonder
that this word has been assimilated in sports terminology (as many as four out of eleven
above mentioned meanings of the word Läufer): ‘runner’ in athletic ‘mid-field player’
in football, ‘one of ronders players’66 and, obviously ‘a chess piece. Hence, it may be
said that in some way the word Läufer has kept its metaphorical sense up to now.
It is interesting that two languages retained the original pronunciation: Italian alfiere
and Spanish alfil mentioned above (see Litmanowicz 1986:306). However, the former
changed completely its meaning in general language and the latter does not have any
other meaning except for a chessman.
In Old Polish terminology the bishop was called: mnich ‘monk’, kapłan, ksiądz ‘both
priest’, biskup ‘bishop’, pop ‘Orthodox priest’, chorąży ‘warrant officer’, fenrych, (from
German Fähnrich, also ‘warrant officer’) giermek ‘squire’. Most of these words are
present in Kochanowski (1966). Karpluk (1980:93-93) adds delfin ‘dolphin’, alfier
‘warrant officer’, strzelec ‘shooter’, błazen ‘clown’ szaszek ‘piece’. Since the 19th
century until recently the word laufer (a borrowing from German) was used very often
(see Litmanowicz 1986:306). In fact, the word laufer is still present in Polish, in
particular among amateurs. What is interesting, this word was used in the nineteenthcentury Polish as ‘a servant running in front of the vehicle of his master’ (see Holly
2001:189 after Krasicski 1990:420).
There is a very interesting phenomenon which occurs in Polish inflection of
chessmen presented so far. The forms of the same words in some cases differ depending
on whether they belong to the general language or are names of chessmen. Król ‘king’
has the plural nominative form królowie. However, if we consider chess or card kings
the plural form will be króle. In the plural genitive form the most usual form is królów,
with one exception Święto Trzech Króli ‘Epiphany or the Feast of the Three Wise Men’.
The same form króli instead of królów will refer to chess kings and cards.67 The plural
nominative for hetman ‘main commander’ is hetmani or rarely hetmanowie whereas
hetman as a chessman queen has the form with a hard ending - hetmany. Also in the
66
67
A game resembling baseball.
The same form refers sometimes to rabbits (‘rabbit’ - Polish królik).
96
plural accusative it will be said hetmanów and hetmany for the general language and
chess meaning, respectively. A similar difference occurs with the name goniec. The
plural nominative form for ‘messenger’ is gońcy, whereas two chessmen will be gońce.
In the opinion of the author, some of these cases may be explained as the retention of
the old paradigm of declension. Długosz (2003a: 206,208) shows Old Polish forms for
plural nominative and accusative forms from mọžь (Old Polish ‘husband’) as męże
(present-day mężowie). Still in the 19th century Adam Mickiewicz used such archaically
sounding forms as: Z wieczora na dżdżu stali dwaj młodzieńce ‘Two young men were
standing when it was drizzling’ [see Mickiewicz 1998a:313 (Dziady, part III)], Pyta, co
to za wojsko, my krzyczym: „Powstańce” “He asks, what army is it, we shout:
‘Insurrectionists’” [see Mickiewicz 1998b:181 (Pan Tadeusz)] or „Rozchodzą się
z dżamidów pobożni mieszkańce” ‘Religious inhabitants are going home’ [see
Mickiewicz 1998c:229 (Bakczysaraj w nocy)]. The words młodzieńce ‘young men’,
powstańce ‘insurrectionists’, and mieszkańce ‘inhabitants’ are old forms of present-day
młodzieńcy, powstańcy and mieszkańcy, respectively. Klemensiewicz (1999:611) cites
even later the outstanding Polish playwright Stanisław Wyspiański (1869 - 1907) who,
as a stylization, often used such forms as ojce ‘fathers’, ucznie ‘students’, więźnie
‘prisoners’, wodze ‘commanders’, młodzieńce ‘young people’, starce ‘the elders’,
zbójce ‘highwaymen’, zdrajce ‘traitors’ instead of ojcowie, uczniowie, więźniowie,
młodzieńcy, starcy, zbójcy, zdrajcy, respectively.
The conclusion is that the ending of some nouns, in particular those whose stem ends
with ‘c’ (młodzieniec, powstaniec, mieszkaniec in singular nominative) changed the
inflectional suffix in the plural nominative from ‘e’ into ‘y’. This explains the forms of
króle ‘kings’ and gońce ‘bishops’, both as chessmen. Thorough research concerning
historical aspects of these changes and a comparative study with other Slavonic
languages would be very interesting.
The Knight
The figure of the head of a horse is the typical representation of the knight which in
more ornate style is called steed, as well. Russian colloquial name рыцарь also means
‘knight’.
The knight represents cavalry. In the Middle Ages a knight was “a man who served
his sovereign or lord as a mounted soldier in armour” (ODE 2006:965). The word
knight is of West Germanic origin (ODE 2006:965). The old forms are: Anglo-Saxon
97
cniht ‘boy, servant’, Dutch knecht ‘servant’, Danish knegt ‘man-servant’, Swedish
knecht ‘soldier’, German knecht ‘belonging to the kin or tribe’ (Skeat 1993:234).
In some languages it is still named as an equivalent of horse e.g.: Russian конь,
Italian cavallo, Spanish caballo. The Polish words koń ‘horse’ or konik ‘small horse’ as
well as German Pferd ‘horse’ Rōssel ‘small horse’ Roβ ‘horse, steed’ are colloquial
speech synonyms of skoczek ‘knight’. Koń is an all-Slavic word e.g. Russian poetically
конь ‘steed, stallion’, Czech kůň, Bulgarian kon (see Długosz Kurbaczowa 2003:238
and Boryś 2005:248). The Proto-Slavic form is * końь (Boryś) or *konjь (DługoszKurbaczowa). Further reconstruction is uncertain, however, the consonant ‘m’ or ‘b’
was likely to occur before n (ń) (see Długosz Kurbaczowa 2003:238, Brückner
1957:253-254). The authors mentioned give different Proto-Indo-European forms:
*kábō(n) (Boryś), *ek’uo-s (Długosz-Kurbaczowa) which is retained in Latin equus.
However, the terminology was evolving to horseman68 (Czech jezdec, Slovak jazdec)
or jumper (German Springer, Serbian skakač and obviously Polish skoczek69) (see
Litmanowicz 1986:459). The word skoczek refers to moves of this piece on the
chessboard. It is derived from the verb skakać ‘jump’ from Proto-Slavonic skakati
(Boryś 2005:552). Sometimes the horseman became a mounted knight like in English
and French - cavallier. Kochanowski (1966) also used names rycerz70 ‘knight’ and
jezdny ‘horseman’.
The Pawn
Pawn is the least powerful chessman. Nevertheless, François Philidor called pawns the
soul of the play. The word derives from Latin pedo ‘foot soldier’. The Old French form
was peon (Brūckner 1970:414). Particular languages usually accepted this ancient
name, e.g.: French pion (another meaning is ‘form teacher in a dormitory’), Italian
pedone, Spanish peon71, all meaning ‘infantryman’, ‘walker’ or ‘pedestrian’. Russian
пешка derives from пеший ’pedestrian’ from Indo-European ped ‘leg’ (Ситникова
2004:167). Colloquial Russian name is also пехотинец ‘walker, foot soldier’ and
pawns are called пехота ‘infantry’.
A foot soldier, the lowest rank in the army, often was a peasant. Therefore, the other
68
Returning to the antient Arabian al-faras
The old form of skoczek was skakun. It still was used in the 19th century.
70
One of Ukrainian chess coaches working in Poland with small children has observed that they often use
the name rycerz (the Polish equivalent of ‘knight’) instead of skoczek.
71
Litmanowicz (1987:892) classifies both Italian pedone, and Spanish peon to the group of peasants, in
the opinion of the author-unjustly.
69
98
big stream in the nomenclature is derived from this stem: Arabian baidag72, Indian and
Persian pejada73, German Bauer, Hungarian paraszt, (see Litmanowicz 1987:891-892).
An exception is the Irish fichillin, which means ‘little chess’ (see Wikipedia: entry
Pawn (chess)).
A long time ago in Poland the pawn was called: pieszy now ‘pedestrian’ but in the
seventeenth-century Polish infantryman, pieszek ‘a diminutive form of pieszy’, piechur,
‘walker’ or ‘infantryman’ chłopek, ‘a diminutive form of peasant’, żołnierz ‘soldier’
dworzanin ‘courtier’and drab.74 The last word derives from German draben, that meant
‘to march’. It experienced a complete semantic change and became pejorative. Today’s
meaning of it is ‘tall strapping fellow’ or ‘ruffian’ whereas earlier it was ‘foot soldier’,
‘servant’. In this meaning this word was used by Adam Mickiewicz in Polish in our
national epic Pan Tadeusz (see Holly 2001:85-86).
Although today’s Polish pionek or pion75 ‘pawn’ has the same form as in French, it
does not have any meaning beyond chess. However, it is used metaphorically as
somebody who is not significant and can be disregarded, which harmonizes with the
name of the soldier of the lowest rank in the army, weakly armed. The Polish and
Russian expressions: być pionkiem, and быть пешкой ‘to be a pawn’ means to be a tool
in somebody’s hands (Skorupka 2002, vol. 2:257).
Names of Chessmen Used in Poetry
Although the reader can find both official, colloquial names of chessmen, and names
used in ornate style in this chapter, it does not exhaust the subject. Poetry is often a law
unto itself and poets’ imagination is practically unrestricted. Otherwise, they would not
be geniuses who manage to rise high above mediocrity of everyday’s life. The names
given below come from two poems by Vida (1983) and Kochanowski (1966) which
have been mentioned a few times in this work. The author will try to avoid repeating the
names mentioned earlier. Chess pieces are called: legia bukszpanowa ‘boxwood legion’,
szyki z bukszpanu ‘boxwood formations’, drewniane wojsko ‘wooden army’; kings are
72
As written in the subchapter 4.3, Giżycki (1984), citing Machalski (1951) gives al-beizaq with
a different meaning -‘infantryman’.
73
This information also seems to be dubious. Considering the former footnote and juxtaposing very
similar forms of stems (given above): Persian pejada Italian pedone, Spanish peon and, above all, Latin
pedo, the Author thinks that pejada may be a foot soldier, as well.
74
Nearly all of these forms are found in Kochanowski (1966).
75
Polish Chess Code calls pawn as ‘pionek’. Nevertheless, the names pionek and pion are used
interchangeably in chess publications.
99
named: wódzowie ‘commanders’ władcy ludów ‘rulers of peoples’, przewodnicy ludów
‘leaders of peoples’. The queen is named żona ‘wife’, grzmiąca ‘thundering (n)’
królewna ‘king’s daughter’ Amazonka ‘Amazon’. Rooks are described as stwory
niosące uzbrojone wieże76 ‘creatures carrying armed towers’, bestie w wieżą na
grzbiecie ‘beests with a tower on its back’, słonie ‘elephants’ potwory ‘monsters’;
bishops are łucznicy ‘archers’, młodzieńcy zbrojni w strzały ‘young men armed with
arrows’; the knight is called koń ‘horse’, jeździec ‘horseman’, rumak ‘steed’ and pawns
are named piechota ‘infantry’, dworzanie ‘courtiers’, falanga ‘phalanx’, służki ‘woman
servants’. The last is due to the fact that a promoted pawn will be a new queen, king’s
wife.
3.4 Moves
As it is known, both a war and a particular battle are very dynamic events. The army in
the battlefield is often regrouping in order both to be ready to unexpectedly attack the
opponent and not to become a target of his attack. This resembles chess moves and
manoeuvres.
Wars have been more and more dynamic in the course of time. This statement is
especially true nowadays when military units are highly mechanized and equipped with
tanks, cars and even helicopters and airplanes. Analogically, chessmen move on the
chessboard, and, similarly as the mentioned process of waging wars, their strength
significantly enhanced after the reform of chess rules in the 16th century, which was
mentioned in the historical chapter. Chessmen are taken by opponent’s pieces or pawns
which resembles dying a soldier’s death.
The table below gathers the vocabulary connected with moves.
Table 4 Moves
English term
move
continuation
Polish term
(n), ruch,
German term
posuniecie, Zug, Fortsetzung
76
ход
kontynuacja
move (v), make a ruszać się, wykonać Zug
move
Russian term
posuniecie
machen, сделать
ziehen
Ancient rooks has exactly the form of an elephant with a tower on its back.
100
ходить
ход,
English term
Polish term
German term
Russian term
capture, take
bić
schlagen, nehmen
бить, взять
kingside/queenside
krótka/długa roszada
kurze/lange
короткая/длинная
Rochade
рокировка
rochieren
рокировать,
castling
or
short/long castling
castle
roszować
сделать
рокировку
en passant
bicie w przelocie
en
passant, взятие на проходе
schlagen
im
Vorübergehen
promotion
promocja
Umwandlung
превращение
Move
Move is originally a Latin word movere, which entered Middle English via French
moveir (see ODE 2006:11149). Polish ruch ‘move (n)’ is explained in particular sources
in different ways. Brückner (1957:466-467) suggests that the verb ruszać ‘move (v)’
mean originally ‘to appeal to a higher court or the Sejm.77 The Old Polish word rucho
was common in the 15th century and meant ‘move’, as well, but above all ‘clothes’,
particularly ‘woman’s clothes’. Boryś (2005:526), on the other hand, notes that ruch has
been known since the 17th century and comes from proto-Slavic dialectic ruchъ from
*rouso- ‘move (n)’which was a gerund from originally proto-Slavic †rusti ‘dig, move’,
or from proto-Slavic rušiti (to put in move). German Zug is of west-Germanic origin.
The Russian ход is a all-Slavic word. The old form ходь was derived from the verb
ходити (see Ситникова 2004:219).
There is an interesting metaphorical expression Winkelzug used in German. In
general language it means ‘trick, chicanery’. Winkel means ‘angle, corner’. Winkelzüge
(the plural form of Winkelzug) in chess are called knight’s moves, perhaps because they
are difficult to predict for beginners. Let us to make a short digression concerning the
form of this word. As mentioned winkel is a corner. However, as the firsts part of
a compound it means ‘shady’. Only in two considered languages the words ‘corner’ and
‘shady’ are motivated: in Polish kąt and pokątny and in German, as shown. If somebody
77
The name of the Polish parlament.
101
does something wrong, he wants to keep it in secret, to hide it somewhere out-of-the
way. English shady depicts another way of hiding a deed - by darkening. Russians have
a direct word нелегальный ‘illegal’.
Capture
This word is very interesting from a linguistic point of view as in general language is
has military meaning i.e. a seizure of a stronghold or a prisoner or hostage. It entered
English in the middle of the 16th century via French from Latin captura (n) from the
Latin verb capere with the same meaning as today. Polish bić (known in Polish since
the 14th century) and Russian бить ‘hit, strike’ are an all-Slavic words which come
from proto-Slavic *biti and proto-Indo-European *bhei-, *bhi-. Related forms are
German Beil ‘battleaxe’ and Armenian bir ‘cudgel’ (see Długosz-Kurbaczowa 2003:4344 and Ситникова 2004:21). Schlagen is an all-Germanic verb, which sounded slahen
in Middle High German slā[he]n in Old High German, slahan in Gothic. It is related to
the English word slay (see Wermke 2001:721-722).
Castling
Obviously, the Word castling is a derivate from castel. Skeat (1993:71) gives here
Anglo-Saxon castel from Latin castellum which is a diminutive form of ‘fortified
place’. As it has often occurred so far, also the equivalents of the English word castling
have a different stem in most of other languages: Polish roszada, German Rochade,
Russian рокировка, Frech roque, Spanish enroque, Dutch rokade, Latvian rokāde,
Czech rošáda sound very similar. A typical change k-χ (Grimm’s Law) occurs here.
The word roszada is associated with the rook which is one of two pieces taking part
in this move. Therefore, the etymology is the same as for the word rook. Tokarski
(1980:654) states that this word comes from Arabian rochch and came to Polish through
German Rochade. However, the pairs of words castling-rook, roszada - wieża, Rochade
-Turm and рокировка – ладья in English, Polish, German and Russian, respectively, are
demotivated in the present-day languages. Nevertheless, if we take the old forms form
the rook: English castle and Polish roch, the motivation will be visible.
It is very interesting that Jan Kochanowski in his poem uses a mysterious term skok
do kuchni ‘a jump to the kitchen’. This expression sounds very metaphorical, but it is
difficult to find any sensible associations. Perhaps, the kitchen like a castle of a tower
was regarded as a particularly safe place?
102
In chess “castling is a move of the king and either rook of the same colour on the
same rank, counting as a single move of the king and executed as follows: the king is
transferred from its original square two squares towards the rook, then that rook is
transferred to the square the king has just crossed” (The FIDE Laws of Chess art.
3.8.a.ii).
XABCDEFGHY
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6-+-+-+-+&
5+-+-+-+-%
4-+-+-+-+$
3+-+-+-+-#
2-+-+-+-+"
1+-+-mK-+R!
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6-+-+-+-+&
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4-+-+-+-+$
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Before white kingside castling
After white kingside castling
Before black queenside castling
After black queenside castling
XABCDEFGHY
8-+-+k+-tr(
7+-+-+-+-'
6-+-+-+-+&
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4-+-+-+-+$
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XABCDEFGHY
8-+-+-trk+(
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Before white queenside castling
After white queenside castling
Before black kingside castling
After black kingside castling
The word castling is one of the most frequent chess words which occurs in general
language, in particular in the plural, meaning personal reshuffle. However, not in
103
English. Both Polish robić roszady German Rochaden machen and Russian делать
рокировки ‘all literally: to make castling’ mean ‘to reshuffle’ i.e. ‘to change jobs or
reorganise something e.g. the cabinet’. In German Rochade is also the change of
positions on the pitch or court in team games. In Polish roszada was in the past a
railway track parallel to the front line used to redeploy units of soldiers, as well.
Castling is a move which provides the king with security. He is evacuated from the
area under threat of opponent’s attack. Obviously, the word castle is still a symbol of
a safe place. There are even sayings an Englishman’s home is his castle and in
American English a man’s home is his castle. However, many languages have some
idioms concerning how to build castles. This kind of wisdom was present as early as in
ancient times and Biblical parables: KJVB (Matthew 7:24-27) says:
“Therefore whosoever heareth these sayings of mine, and doeth them, I will
liken him unto a wise man, which built his house upon a rock: And the rain
descended, and the floods came, and the winds blew, and beat upon that
house; and it fell not: for it was founded upon a rock. And every one that
heareth these sayings of mine, and doeth them not, shall be likened unto a
foolish man, which built his house upon the sand: And the rain descended,
and the floods came, and the winds blew, and beat upon that house; and it
fell: and great was the fall of it.”
The Bible warns us not to build upon the sand. Nevertheless, the popular both Polish
and German saying tell us about ‘building castles on ice’ budować zamki na lodzie, and
Luftschlösser bauen and a similar English is castle in the air. Both mean ‘to dream
about something unreal’. From the linguistic point of view two questions are interesting:
why sand has disappeared from these sayings and why they have changed. The former
question is more difficult as the sand is not bad ground for a house and many of them
stand stable on it. The problem may be solved when we analyse KJVB (Luke 6:49) “But
he that heareth, and doeth not, is like a man that without a foundation built an house
upon the earth”. The point may be that houses were built directly on the sand, without
a foundation. Moreover, the sands in the Holy Land, in the neighbourhood of the desert,
are probably shifting or at least less stable than in Europe. The latter question is much
easier. Although some sayings tend to keep their form in spite of the real situation, this
one concerns a very practical matter is otherwise would stand in overt contradiction
104
to the reality.
En Passant
“A pawn attacking a square crossed by an opponent’s pawn which has advanced two
squares in one move from its original square may capture this opponent’s pawn as
though the latter had been moved only one square. This capture is only legal on the
move following this advance and is called ‘en passant’ capture78” (The FIDE Laws of
Chess art. 3.7.d) (see diagram below).
XABCDEFGHY
8-+-+-+-+(
7+-+-zp-+-'
6-+-+j+-+&
5+-+P}-+-%
4-+-+-+-+$
3+-+-+-+-#
2-+-+-+-+"
1+-+-+-+-!
Xabcdefghy
Promotion
Promotion is related to the word move. It entered “late Middle English via Old French
from Latin promotio(n-) from promovere ‘move forward’. The first meaning in English
was to promote somebody into higher position, in particular in army (ODE 2006:1409).
Polish promocja has the same origin and has been known since 16th century, however,
the first main meaning was ‘support’ and then the word was mutating into ‘act of
promotion’
(see
Długosz-Kurbaczowa
2003:417).
German
Umwandlung
and
превращение have different stems and mean ‘transform’.
“When a pawn reaches the rank furthest from its starting position, it must be
exchanged as part of the same move for a new queen, rook, bishop or knight of the same
colour. The player’s choice is not restricted to pieces that have been captured
previously. This exchange of a pawn for another piece is called ‘promotion’ and the
effect of the new piece is immediate” (The FIDE Laws of Chess art. 3.7.e). If a player
exchanges the pawn for a piece except for a queen, it is called underpromotion.
78
Diagram 3 taken from Kodeks Szachowy, the site of Polish Chess Federation.
105
There is a Polish saying that each soldier carries marshal’s baton in his backpack.
Promotion is a transformation of a soldier of the lowest rank usually into the most
important as a reward for his long march.
The promotion may also express the idea of calling in reinforcements during a battle
for a modest pawn is usually transformed into the most powerful piece.
3.5 A Chess Game, Chess Tournaments
A chess game is like a battle. A chessboard with chessmen represents a battlefield and
two hostile armies. Let us analyse these similarities.
Each battle has a few stages. Obviously, they may differ a little depending on the
historical time, the character of a battle (e.g. a siege, a contemporary fight in a town,
a medieval battle on an open field etc.). Nevertheless, most of them have the same
phases. A typical battle starts long before any fight begins as the first stage is planning
i.e. analysing one’s own and opponent’s strong and weak sides in order to prepare
appropriate tactical measures. Preparations to a chess game look similar. Then the
commanders deploy their units and soldiers (this activity refers to chess only partly
since the setup of chessmen is established by the chess law79) which is followed by
mobilisation of forces, which resembles chess opening. Only then does the first action
take place. In chess it would be the middlegame. These actions are conducted in
different parts of the battlefield (chessboard). However, some of them are much more
important than others (in chess: key-squares). Not all time during the course of the
battle is important in the same degree, either. Both a battle and a chess game usually
have crucial moments, e.g. a successful Polish winged Hussars charge or a decisive
chess knight manoeuvre. These most important moments are also called in chess ‘key
positions’.
Table 5 A Chess Game, Chess Tournaments
English term
Polish term
German term
Russian term
chess game
partia szachów
Schachpartie
шахматная партия,
встреча
opening
debiut, otwarcie
Eröffnung
79
дебют,
начало
Roberts Fischer’s idea so that the setup of the pieces on the 1 st and 8th ranks could be free was
mentioned in the historical chapter.
106
English term
Polish term
German term
Russian term
игры
middlegame
gra środkowa
Mittelspiel
миттельшпиль,
середина игры
ending, endgame
końcówka
Endspiel
эндшпиль,
заключительная
часть партии
gambit
gambit
Gambit
гамбит
tournament
turniej
Turnier
турнир
sport
sport
Sport
спорт
The Game
The English word game apparently does not deserve attention. Nevertheless, a thorough
analysis allows to observe some interesting linguistic phenomena. The words in the
remaining languages derive from the Latin root pars (Gen. partis) meaning ‘part’. The
word ‘game’ is of Germanic origin (M.E. game, also gamen Anglo Saxon gamen, Old
Swedish gamman, Old High German gaman) (see Skeat 1993:169). Moreover, in all
examined languages, except English, there are motivated pairs: gra - grać (Polish),
Spiel - spielen (German) and игра - играть (Russian) meaning game - play,
respectively. Only in English this pair is demotivated. The English word play (n) in
sport may be only an action or equality of an action, e.g. “with a good play for White”.
There are many expressions in particular languages connected with the word game
and play80: the game is not worth a candle, gra nie warta świeczki (Polish), игра не
стоит свеч (Russian) ‘something not worth doing’, to have the game in one’s hands
‘to be sure of success’, to play a waiting game, to play for time, gra(ć) na zwłokę
(Polish) ‘to delay intentionally the run of something, delaying tactics’, beat sb at sb’s
own game, two can play at that game ‘two players can use the same strategy’, play first
violin, grać pierwsze skrzypce, die erste Geige spielen, играть первую скрипку
‘figuratively: to be the most important person, to play the leading role’. In English it is
possible to say to play second fiddle about someone who is next to the leader, though
also here there is something pejorative in this connotation: being subordinate, live in
somebody’s shadow, especially if we add to somebody. Similar expression die zweite
80
The two words are examined together because, as mentioned above, only in English this pair is
demotivated.
107
Geige spielen exists in German and Polish grać drugie skrzypce. The words game and
play are here metaphors of fight, battle, tension, tactics, values.
Chess Openings
A game is traditionally divided into three phases: opening, middlegame and ending.
Opening is the first part of a game and reaches about 20 first moves. Openings have
their names e.g. the Sicilian Defence, Scottish Game, Queen’s Gambit. They are usually
similar to Polish names, only the name Spanish Game is rather seldom used in English
and is usually called Ruy Lopez after the Spanish chess-player who used it first.
The word opening derives from open which is of German origin: Old English open
(adj.), openian (v). It is “related to Dutch open and German offen from the root of the
adverb
UP”(ODE
2006:1232). The Polish word otwarcie ‘opening’ is derived from the
verb otwierać ‘open’. A very interesting thing is the fact that it is related to the word
twarz ‘face’ and tworzyć ‘create’ which have nothing in common in English. They come
from the proto-Slavic verb *tvoriti. In fact the word open and its counterparts in the
other languages are often used in meaning ‘to start to exist’ or ‘to start an activity ’ e.g.
to open an exhibition, debate etc.
Another special phenomenon is the use of the word debiut (Polish), and дебют
(Russian) ‘literally: debut’ in Slavic languages. Both English debut and German Debüt
mean ‘doing something for the first time’ and are not used in chess unless in the
meaning ‘playing in a chess tournament or for a team for the first time’. Germans use
the word Eröffnung which is related to the above mentioned offen (open).
Naming of Chess Openings and Variations
Chess openings are named in different ways: e.g. after states: English, French; nations:
Scotch, groups of countries: Slav, regions: Scandinavian, isles: Sicilian, rivers: Volga
Gambit81, or names: Alekhine. The specific name is usually followed (in particular in
Slavonic languages) by one of such words as game, ‘opening’, ‘defence’, ‘system’
‘gambit’. The name is usually devoted to the chess player(s) who first played
a particular opening or, more often, analysed it thoroughly or the place from where they
came or a system was played. Variations or systems are smaller parts of openings and
81
In the West it is rather called Benko Gambit.
108
also take their names in a similar way, however, not after countries. Words: variation,
variant attack of defence are usually added to the specific name.
More interesting from the point of view of linguistics is the fact that some openings
or variations are named after what is happening on the chessboard e.g. King’s Gambit,
Queen’s Pawn Opening. Such words as open, closed, accepted, declined, classical,
orthodox, reversed, accelerated are often a part of names of openings or variation. They
describe the character of the position on the chessboard in a direct way.
However, the most interesting is another, relatively rare group of names, which have
been established as some associations and therefore have a metaphorical character.
These associations may refer to different objects: things, animals or monsters, the
character of play, activities and people.
The so called Stonewall System represents the first group. It is characterised by the
pawn structure d5-e6-f5 or, not as often, d4-e3-f4 when White forms this structure.
Germans called this system in the same way with only some small differences in
pronunciation, Polish and Russian has morphological calques: kamienna ściana and
каменная стена, respectively, both meaning ‘wall of stones’.
1.d4 f5 2.g3 Nf6 3.Bg2 e6 4.Nf3 d5 5.c4 c6 6.0–0 Bd6 7.Qc2 0–0
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Litmanowicz (1987:1158) suggests that this pawn structure resemble a strong
defensive wall. In fact, although Black’s position looks a little passive, it is very solid.
However, no English dictionary translates stonewall as ‘wall of stones’. It is usually
used as a verb and means ‘to avoid giving information, to block negotiations’ or in sport
109
‘to play in a defensive way’. The last meaning would describe the character of this
system in the best way.
A question arises if the word stonewall meant originally ‘wall of stones’ and then
was lexicalised. Accessible dictionaries do not give the etymology of this compound,
though, this hypotheses looks quite reasonable. In any event, this word borrowed by the
other languages returned to its supposed original meaning.
Bayonet Attack is the name of a variation in the King’s Indian Defence. It arises after
the moves
1.d4 Nf6 2.c4 g6 3.Nc3 d6 4.e4 Bg7 5.Nf3 0–0 6.Be2 e5 7.0–0 Nc6 8.d5 Ne7 9.b4
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The move 9.b4 starts White’s action on the queenside without any preparations (like
9.Ne1 or 9.Nd2) but he allows Black to organise counterplay e.g. by 9...Nh5. The fight
is very sharp as if both sides stabbed each other with bayonets.
Another variation of the King’s Gambit is known in Polish nomenclature as długi
bicz and in German Lange Peitsche ‘both literally: long whip variation’.
Worth mentioning is the fact that all the names: wall, bayonet and to some degree
whip, which is a symbol of discipline, are connected with military terminology.
The next group of names is associated with animals and beasts. One of the most popular
of them is so called Dragon Variation in the Sicilian Defence. The main line is here.
This variation is known in other languages as drakon, in Polish sometimes as wariant
smoczy which is a calque of the English name.
110
1.e4 c5 2.Nf3 d6 3.d4 cxd4 4.Nxd4 Nf6 5.Nc3 g6 6.Be3 Bg7 7.f3 0–0 8.Bc4 Nc6
9.Qd2 Bd7 10.0–0–0
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The name of the variation refers to the structure of Black’s pawns d6-e7-f7-g6-h7,
which resembles the constellation of Dragon. The d6-pawn is the head of the dragon
(see Litmanowicz 1987:1121). However, “it also suggests fearsomeness: in particular
White may fear the power of Black’s fianchettoed bishop, and if White exchanges this
piece, he ‘extracts the dragon’s tooth’” (Hooper 1984:95).
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Another system is so called hedgehog. It usually arises from the Sicilian Defence
English Game. An example may be the game:
111
Azmaiparashvili,Z - Kasparov,G
London m2 blitz London, 1993
1.e4 c5 2.Nf3 d6 3.c3 Nf6 4.Be2 Nbd7 5.Qc2 Qc7 6.0–0 b6 7.c4 Bb7 8.Nc3 e6 9.d4
cxd4 10.Nxd4 a6 11.Be3 Be7 12.Rac1 0–0 13.f3 Rac8 14.Rfd1 Rfe8 15.Bf1 Qb8
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The system is rather not a concrete variation but a specific type of position which is
characterized by the Black pawn structure similar to the one on the diagram. Black
apparently stands very passive and 50-80 years ago everybody would have accessed it
as much better for White. In fact, White has much more space. However, the matter is
not as clear as Black has no weaknesses, well-developed pieces and can achieve good
counterplay by d5 or …b5 in the future. The name hedgehog shows that Black fights in
this type of position like a hedgehog which bristled its quills ready to be attacked. The
opponent must count that he will be endured, all the more that any action both on the
kingside and queenside may create some vulnerable points in White’s position.
There are also two other interesting names: Orang Utan Opening82, Tiger’s Variation,
Rat Opening (a joking name of the King’s Fianchetto Opening) and in Polish
terminology so called wariant kameleonowy ‘chameleon variation’. The first, which
looks very unusual83 is Saviely Tartakower’s invention, the second is very safe but
passive, the third is a very sharp variation in the Austrian Attack in Pirc Defence, the
82
Nowadays it is usually called Sokolsky Opening after the Soviet chess-player Alexei Pavlovich
Sokolsky (1908–1969) who wrote a monograph on this opening in 1963 (see Wikipedia, entry: Sokolsky).
83
It starts with the move 1.b4 hence it is against a principle of using rather central strategy in the opening.
By the way, there is an anecdote, that such a strange idea appeared in Tartakower’s mind during a visit in
the zoo.
112
fourth is a variation of the Queen’s Gambit Declined.
The names of are not random. The creatures mentioned represent some characteristic
features useful in fight: a dragon and a tiger - power and aggressiveness, a hedgehog a defensive strategy. Only an orang utan suggests that the variation is strange and not
very serious. Chameleon is a lizard which is able to change its skin colour. The name of
this animal is often used in a metaphorical sense. A chameleon is often called a man
who is very changeable, who does not have any principles and always adjusts to a social
situation playing a role like an actor. Obviously, such kind of behaviour may be a good
way of camouflage84, which is also an element of war tactics.
The mentioned variation is characterised by a dramatic change of the situation on the
chessboard from very peaceful positional play into a very sharp attack. It is worth
mentioning that “the English word chameleon (also chamaeleon) derives from the Latin
chamaeleo which is borrowed from the Ancient Greek χαμαιλέων (khamaileon), a
compound of χαμαί (khamai) ‘on the earth, on the ground’ + λέων (leon) ‘lion’. The
Greek word is a calque translating the Akkadian nēš qaqqari, ‘ground lion’” (Wikipedia,
entry chameleon). The etymology of the animal suggests some aggressiveness, as well.
The name Chameleon Variation may be regarded both as taken from an animal and
representing the character of fight due to the abovementioned metaphors. Other
variations which faithfully convey the character of play are: in German chess
nomenclature Bindfadenvariante ‘literally string variation’ (Tarrasch System in the
Queen’s Gambit), Giuoco85 Piano ‘quiet game’, The Giuoco Pianissimo ‘very quiet
game’. The names suggest that the play is simple and calm. It is worth adding that these
names associate with music where they are used as the expressions of dynamics piano
‘quietly’ pianissimo ‘very quietly’.
Another type of a metaphorical name of an opening is the system called tango. It arises
after only two moves.
Elburg,J - Simmelink,J
The Netherlands, a friendly game m corr, 1999
1.d4 Nf6 2.c4 Nc6
84
Contrary to popular opinion “recent research indicates that they do not typically change their colour for
reasons of camouflage, but instead use colour changes as a method of communication, including to make
themselves more attractive to potential mates” (Wikipedia, entry: chameleon). However, as mentioned
before, conventional notions are more productive in creating metaphors than scientific knowledge.
85
Another form of giuoco is gioco. Both of them are used interchangeably.
113
XABCDEFGHY
8r+lwqkvl-tr(
7zppzppzppzpp'
6-+n+-sn-+&
5+-+-+-+-%
4-+PzP-+-+$
3+-+-+-+-#
2PzP-+PzPPzP"
1tRNvLQmKLsNR!
xabcdefghy
Black provokes Black to gain space but it may be risky and exposes White to strong
counterplay e.g.
3.d5 Ne5 4.e4 e6 5.f4 Ng6 6.Bd3 exd5 7.e5 Ne4 8.cxd5 Qh4+ 9.g3 Bb4+ 10.Bd2?
Nxg3 11.Nf3 Nxf4! Black knights start dancing tango!
XABCDEFGHY
8r+l+k+-tr(
7zppzpp+pzpp'
6-+-+-+-+&
5+-+PzP-+-%
4-vl-+-sn-wq$
3+-+L+Nsn-#
2PzP-vL-+-zP"
1tRN+QmK-+R!
xabcdefghy
12.Bf1 [12.Nxh4 Nxd3#] 12...Bxd2+ 13.Nbxd2 Qh3 14.Rg1 Nxf1 15.Nxf1 b6 16.Rg3
Qf5 17.Ne3 Qe4 18.Qd4 Nd3+ 19.Ke2 Qxd4 20.Nxd4 Nxe5 21.Rxg7 c5 22.Ndf5
Ba6+ 23.Kf2 Kf8 24.Rag1 Bd3 25.R1g3 Ng6 26.h4 Re8 27.h5 Bxf5 28.Nxf5 Re5 0–1
The last type of names comes from people who were not chess-players but commonly
known historical figures or characters taken from literature. Such names are called
eponyms. One of openings was named after a biblical character Benoni. Obviously, he
was not the inventor of this system and his name has a symbolical character. The Holy
114
Scripture (Gen. 35,18) says “she [Rachel] was dying and as she breathed her last, she
named her son Benoni86 but his father named him Benjamin87” (GNB 1979:41).
Benjamin was the twelfth youngest and the most loved Jacob’s son. When Joseph met
his brothers in Egypt ‘food was served to them from Joseph’s table, and Benjamin was
served five times as much as the rest of them’ (Gen. 43,34, GNB 1979:51). It must be
added that ancient peoples treated the meaning of names much more seriously than
contemporaries. Present day John may not know that his name means ‘God is merciful’,
but a man strongly identified with the etymology of his name. Therefore we have many
eponyms derived from old names. In Polish beniaminek is the youngest favourite son. It
is also used in sport for a team who was promoted to a higher league (newcomer). The
Benoni Opening is also a kind of new opening. It is a relatively new invention and it is
connected with a strategic risk, so it does not enjoy a good reputation.
Hooper (1984:29) describes the name of the opening in the following way: “The
name comes from Ben-Oni oder die Verteidigungen gegen die Gambitzüge im Schach
by A. Reinganum, published in 1825. Ben-Oni is Hebrew for ‘child of my sorrow’.
When he was depressed Reinganum turned to his chess-board, and the book was the
result of his analysis.”
The position of so called Modern Benoni arises after
1.d4 Nf6 2.c4 e6 3.Nc3 c5 4.d5 exd5 5.cxd5 d6 6.e4 g6
XABCDEFGHY
8rsnlwqkvl-tr(
7zpp+-+p+p'
6-+-zp-snp+&
5+-zpP+-+-%
4-+-+P+-+$
3+-sN-+-+-#
2PzP-+-zPPzP"
1tR-vLQmKLsNR!
xabcdefghy
86
87
Benoni means son of my sorrow (see BT 1980:54).
Benjamin means son of right hand which symbolised happiness (see BT 1980:54).
115
Ending
Ending or endgame is the final phase of the game when only few pieces left on the
chessboard. In three discussed languages (English, German and Russian) the base end is
present. In Old and Middle English it had the form ende (n) endian (v) (see ODE
2006:572, Skeat 1993:134). ODE derives it from Latin - endus ‘gerundive ending’ and
Room (2002:198) from Sanskrit anta ‘end, boundary, death’ through Indo-European
and Germanic. Polish końcówka is a derivate from koniec ‘end (n)’ which has been
known from the 14th century, in Old Polish also in the form końc. Apart from ‘end’ it
meant also ‘death’, ‘result’, ‘target’. It is an all-Slavic word. In Proto-Slavic
*konь/*konъ was ‘end’ or ‘beginning’ (see Boryś 2005:247). Russians have the word
окончание ‘end, ending, finish’, but it is used only in general language. The last stage
of chess game is called only эндшпиль.
There is an interesting manoeuvre in a rook ending called metaphorically ‘building
a bridge’.
XABCDEFGHY
8-+-+k+K+(
7+-+-+-zP-'
6-+-+-+-+&
5+-+-+-+-%
4-+-+-+-+$
3+-+-+-+-#
2-+-+-+-tr"
1+-+-+R+-!
xabcdefghy
1. Rf4 Rh1 2.Re4+ Kd7 3. Kf7 Rf1+ 4. Kg6 Rg1+ 5. Kh6 Rh1+ 6. Kg5 Rg1+ 7. Rg4
The final position really resembles a bridge which ensures White’s king a shelter.
A Gambit
The word gambit derives from “an Italian noun meaning literally ‘tripping up’. The
Italian for ‘leg’ gamba (a relative of English gammon ‘bacon’). From it were derived
gambetto and gambata both of which signified ‘trip up’. The former was borrowed into
Spanish as gambito, where its underlying notion of underhanded procedure was first
applied specifically to a chess manoeuvre in the mid-16th century. It passed into English
116
mainly via French gambit” (Ayto 1990:248).
A gambit is an opening in which one side sacrifices material to receive an advantage
in development. If the opponent accepts the sacrifice, we have a gambit accepted, if not
- declined.
The two games below are examples of the so called King’s Gambit, one of the
sharpest chess openings. It appears after
1.e4 e5 2.f4
XABCDEFGHY
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In the first game Spassky,B - Najdorf,M Varna olm fin-A 1962 Black accepted the
gambit and after
1.e4 e5 2.f4 exf4 3.Nf3 Be7 4.Nc3 Nf6 5.d4 d5 6.Bd3 dxe4 7.Nxe4 Nxe4 8.Bxe4 Bd6
9.0–0 Nd7 10.Qd3
XABCDEFGHY
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6-+-vl-+-+&
5+-+-+-+-%
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1tR-vL-+RmK-!
xabcdefghy
White achieved compensation for the sacrificed pawn.
117
In Morphy,P - Barnes,T London, 1858 Black declined the gambit:
1.e4 e5 2.f4 Bc5 3.Nf3 d6 and after 4.b4 rejected another pawn sacrifice
XABCDEFGHY
8rsnlwqk+ntr(
7zppzp-+pzpp'
6-+-zp-+-+&
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1tRNvLQmKL+R!
xabcdefghy
4...Bb6 5.Bc4 Nf6 6.Qe2 Nc6 7.c3 0–0 8.d3 exf4 9.Bxf4 d5 and obtained good
counterplay.
XABCDEFGHY
8r+lwq-trk+(
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6-vln+-sn-+&
5+-+p+-+-%
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xabcdefghy
Gambit is a word which has entered the general language in English. ODE
(2006:710) gives as the first meaning “an act or remark that is calculated to gain an
advantage, especially at the outset of a situation: his resignation was a tactical gambit.”
(Procter 1995:581), also at the first position gives: “a clever action in a game or other
situation which is intended to achieve an advantage and usually taking risk”. (...) The
government’s promise to lower taxes is so obviously an election-year gambit”. The
word gambit, often preceded by words with words opening or conventional, may be also
a remark to start a conversation e.g. “He approached me with that tired old
118
conventional gambit, ‘Don’t I know you from somewhere?’”(Procter 1995:581).
As shown, the meaning of gambit in general language contains the same features
(at least some of them) such as: 1) something that is done at the beginning of something
2) in order to achieve an advantage 3) which is risky.
Most Polish dictionaries do not include any figurative meaning of gambit. Only
USJP gives “risky activity, threatened with a loss, undertaken in order to create a
favourable to oneself situation” (translation mine). Expressions such as gambitowe
zagranie ‘literally: gambit move’ are sometimes used metaphorically among chessplayers as ‘risky activity’.
Tournament
The word tournament derives from the Old French. Different sources give here various
forms: tourneoi, torn(e)lier, tourn(o)ier, tornoiement, torneiement. In the Middle Ages
a tournament was “a sporting event in which two knights (or two groups of knights)
jousted on horseback with blunted weapons, each trying to knock the other off, the
winner receiving a prize” (ODE 2006:1865). However, the medieval tournaments were
a very dangerous kind of rivalry and even fatal accidents occurred. He who won
achieved fame, therefore a lot of knights took part in the most prestigious tournaments.
The participation in a tournament gave a foretaste of a real fight in a battle. Hence, it
can be said that today’s word ‘tournament’ as sport event also has a military origin.
Sport
Although the word sport is not historically associated with chess, it is worth
mentioning. Sport is relatively a new word, but its meaning is changing and still
developing. In a prewar foreign word dictionary it was defined as “outdoor
entertainment, funs, and games made to improve body fitness”. It is etymologically
connected with late Latin disportare which meant ‘carry’, hence, ‘stop working’.
French desport and Middle English disport originated from this Latin word. Sport is an
abbreviation of disport. In dictionaries in the 1950s sport was not defined as
entertainment but rather as development of strength, agility, energy and human will (see
Bralczyk 2008:21 and Skeat 1993:363). It is interesting that English monolingual
dictionaries emphasise more the element of competition which is rather secondary in
Polish contemporary dictionaries.
Although for last decades sport has strongly been commercialised and many negative
119
phenomena such as taking drugs or corruption have appeared this time, the word sport
still has good connotations. Bralczyk (2008:21) quotes here the expressions zachowanie
sportowe88 ‘literally: sports bevaviour’ and po sportowemu ‘literally: in a sports way’
meaning ‘sportingly’, i.e. not only a behaviour in accordance with corresponding norms
but also generous, non-egoistic not predisposed towards a short-term benefit, taking into
account others’ expectations and needs. The English phrase fair play, which means
approximately the same as in English, is present in the Polish language, as well. There
is also an English idiom to be a good sport, which describes somebody generous and
helpful.
However, another expression dla sportu, which corresponds to English ‘in sport, for
fun’, looks worse. It refers more to the original meaning amusement, entertainment and
could be translated ‘for fun’, but it usually suggests a fun of a low standard, often
hurting somebody’s feelings. Nevertheless, such sayings as sport to zdrowie ‘sport is
health’ and w zdrowym ciele zdrowy duch ‘a healthy mind in a healthy body’89 suggest
that the word sport be construed definitely positively. It reflects our attitude towards
health, life, body and spirit and makes us optimistic (see Bralczyk 2008:21). A similar
popular Polish expression is prowadzić sportowy tryb życia and the Russian calque:
вести себя по спортивному both meaning “to lead a sports lifestyle”.
3.6 Chess Words and Expressions Which Are Metaphors of a Battle
The main goal of this dissertation is to prove that chess is a metaphor of a battle. The
major thesis which will be proposed here is that the vocabulary of war and chess
vocabulary should be coherent. Obviously, this cohesion has been emphasised since the
beginning of this chapter. Nevertheless, the table below gathers the words and
expressions which harmonise with this subject in a particular way.
Table 6 Metaphors of a Battle
English
Polish
German
Russian
fight
walka
Kampf
борьба
fight
walczyć
kämpfen
бороться
match, duel
mecz, pojedynek
Match, Wettkampf
матч, встреча,
88
89
The equivalent Russian expression is here спортивное поведение.
The equivalent Russian proverb is here в здоровом теле здоровый дух.
120
English
Polish
German
Russian
поединок, дуэль
blitz
blitz, gra
Blitz
блиц
Stellung, Position,
позиция
błyskawiczna
position
pozycja
Lage
centre
centrum
Zentrum, Mitte
центр
kingside
skrzydło
Königsflügel
королевский фланг
Damenflügel
ферзевый фланг
królewskie
queenside
skrzydło
hetmańskie
equator
linia demarkacyjna Mittellinie
демаркационная
линия, экватор
stronghold
advantage, upper
twierdza,
Festung
крепость,
nieprzystępna
неприступная
pozycja
позиция
przewaga
hand, edge
Vorteil,
перевес
Übergewicht
strategy
strategia
Strategie
стратегия
tactics
taktyka
Taktik
тактика
attack
atak
Angriff
атака
fork
widły, widełki
Gabel
вилка
breakthrough
przełom
Durchbruch
прорыв
break through
przełamać się
durchbrechen
прорваться
combination
kombinacja
Kombination
комбинация
sacrifice, offer (n)
ofiara,
Opfer
жертва
opfern
жертвовать
poświęcenie
sacrifice, offer
ofiarować,
poświęcić
pin
związanie
Fesselung
связка
pin
(z)wiązać
fesseln
связать,
defence
obrona
Verteidigung
защита
121
English
Polish
German
Russian
defend
bronić (się)
verteidigen
защищать
sally, sortie
wypad
Ausfall
вылазка, выпад
march (v)
maszerować
marschieren
маршировать
march (n)
marsz
Marsch
марш
route
marszruta
Marschroute
маршрут
Phalanx
falanga
(Bauern-) Phalanx
фаланга, пешечная
масса
trap
pułapka
Falle
ловушка
battery
bateria
Batterie
батарея
windmill, see-saw
młynek
Zwickmühle
мельница
outpost
placówka
Vorposten
форпост, вечная
фигура
blockade (n)
blokada
Blockade,
блокада
block/blockade
blokować
blockieren
блокировать
outpost
placówka
Vorposten
форпост
manoeuvre
manewr
Manöver
манёвр
tempo
tempo
Tempo
темп
notation
notacja
Notation
нотация
resign
poddać się, złożyć Aufgeben, Waffe
сдаваться, сложить
broń
strecken
оружие
remis,
Remis,
ничья
nierozegrana
Unentschieden
draw
Fight
The word fight derives from Old English feohtan (v), feoht(e), gefeoht (n), which are of
West Germanic origin and are related to Dutch vechten and German fechten, Gefecht
(see ODE 2006:642). The Polish word walka is a borrowing from Old Czech válka
‘battle’, ’fight’, ‘war’ which is a derivate of Old Czech váleti (v) ‘to fight’(see Boryś
2005:677). German Kampf derives from Latin campus ‘field’, ‘battlefield’ (see Wermke
2001:386). The Russian word бороться came from Old Slavonic бороти/боротися
into Old Russian in the 11th century. The meaning of the word has never changed (see
Грубер 2007:125).
122
Many idioms are created with the word fight. For example, to fight tooth and
nail(claw)/hammer and tongs means ‘to fight with great determination’. The Polish
equivalent is walczyć o coś zębami i pazurami. Chess-players often say gryźć deskę
‘literally: to bite the chessboard’. The words fight and defend are often used
interchangeably e.g. English to defend sth (with) tooth and nail/claw, Polish bronić
czegoś zębami i pazurami and German sich mit Hörnern und Klauen zur Wehr setzen
‘literally: defend with horns and claws’ Ability to fight is often compared with beasts of
prey e.g.: to fight like a lion/tiger, and the Polish calque: walczyć jak lew/tygrys, Geman
kämpfen wie ein Löwe ‘fight like a lion’, jemanden verteidigen wie eine Löwin ihre
Jungen ‘literally: to defend somebody like a lioness her young’ (see. WolframRomanowska 2002:24, 142). If somebody fights a nonsensical or imaginary battle he
tilts at/ fights windmills. The Polish, German and Russian calques are: walczyć z
wiatrakami, воевать с ветряными мельницами and gegen Windmühlenflügel
kämpfen, respectively.
Match, Duel
A chess match is a series of games. Hence, it resembles rather a war than a battle. Both
a war and a chess match need o lot of time-consuming preparations. Both long- and
short-term ones e.g.: training and mobilisations of soldiers, production of weapon and
ammunition, working out an appropriate strategy or even war doctrine, intelligence and
reconnaissance of an enemy, which engage the whole staffs of the most qualified
officers. Today’s chess duel, though in a micro-scale, is very similar. It is really
impossible to become a top world player without a significant help of others. It includes
both cooperation on self-development e.g. working out and appropriate opening
repertoire, studying weak and strong sides of an opponent etc.
The etymology of the word match is a little surprising. It has nothing to do with sport
or rivalry. In present day English it means a contest, an equal, marriage. In Middle
English existed the forms macche, mache and in Old English mæcca, commonly
gamæcca meaning ‘comrade, companion, spouse’. They come from the more original
form maca ‘companion’ (see Skeat 1993:266). ‘This word is related to the base of
make’ (ODE 2006:1082). The other languages borrowed this word from English.
The word duel is related to dual ‘consisting of two’ from Latin duo ‘two’. The same
refers to Russian дуэль. It is interesting that Polish pojedynek is a derivate from
pojedynczo ‘singly’ which comes from jeden ‘one’. This word has been known in Polish
123
since the 16th century (see Boryś 2005:456). The Russian поединок is a borrowing from
Polish (Ситникова 2004:173). Why one thing - a fight between two opponents - can be
named in such different ways? In Russian two words exist: one derived from the
numeral one the other - two. The answer does not seem to be very complicated. Two
men fight but either individually. Moreover, there is only one winner. All the problem is
caused by a different point of view.
Russian has also another word for a chess game: встреча ‘meeting’, which does not
express any kind of aggressiveness or competitiveness. However, it is rather rarely used.
On the other hand, the German compound Wettkampf looks very military as it consists
of the morpheme Wette ‘bet, races’ and the noun Kampf which is discussed under the
entry fight.
Blitz
Blitz is a German word for ‘lightening’. It is used for very fast played-games, usually
five minutes for each player. The FIDE Laws of Chess, Appendix C1 defines this term
precisely in the following way “A ‘blitz’ game is one where all the moves must be made
in a fixed time of less than 15 minutes for each player; or the allotted time + 60 times
any increment is less than 15 minutes”. The other languages accepted this word. In
military terms it means ‘bombing raid’. Worth adding is the other derivate - blitzkrieg
(blitzkrieg, Blitzkrieg, блицкриг in Polish, German and Russian, respectively) ‘violent
military attack’ which is present without any changes both in English and Polish.
Position
The word position is widespread in European languages. It has Latin origin position(n-)
and is a derivate from ponere ‘to place’. It entered late Middle English via Old French
(see ODE 2006:1374). In Polish the word pozycja has been present since the 18th
century, at first as a law term and then in other disciplines such as: grammar, music,
sport, military science and at present has above all a general meaning related to the
mutual location of two things (see Długosz-Kurbaczowa 2003:407). In German the
word Position came through French ‘position’ in the 16th century. However, German
uses also two other words: Stellung and Lage, which are of German origin (see Wermke
2001:620, 806, 466). The word позиция has been known since the epoch of the tsar
124
Peter I the Great90 and reach Russian from French via Polish (see Ситникова
2004:172).
In chess position is “the arrangement of pieces and pawns of one or both colours at
any stage of the game or as set for a composition. (...) A player may compare the
situation of his opponent’s men with that of his own; if he has an overall advantage he
has the better position; his opponent the worse. The phrase ‘the position is level’ refers
to all the men on the board and means that neither side has the advantage” (Hooper
1984:261). The adjective derived from the word position is positional with its
equivalents pozycyjny and позиционный in Polish and Russian, respectively (Germans
use only compounds starting with Positions-) are often used in expressions such as
positional advantage (not material), positional draw (in a position with a big material
advantage e.g. when it is completely blocked or by perpetual check), positional move,
positional play. Obviously, the military counterpart is positional war.
Centre
Particular parts of the chessboard are like areas of the battlefield. The word centre reach
“late Middle English from: Old French, or Latin centrum from Greek kentron ‘sharp
point, stationary point of a pair of compasses’, related to kentein ‘to prick’”(ODE
2006:280). This word sounds similar in the other languages as shown in the table and,
obviously, has the same origin. It entered Middle High German from Latin in the
Germanized form zenter (see Wermke 2001:943, Грубер 2007:529) and Russian from
German in the 17th century (Грубер 2007:529).
The four squares in the middle of the board d4, d5, e4 and e5 are considered to be the
basic centre of the chessboard. Sometimes it is said about widened centre (the rectangle
c4-c5-f5-f4) or central zone of up to 16 central squares (the square c3-c6-f6-f3). The
control of the central squares is one of the most fundamental principles in chess, as they
are more mobile there and ready to be used on any part of the chessboard.
The word centre is also used metaphorically in such expressions as centre of
attention/attraction/scandal etc. which function in the other languages, as well.
90
“Peter I the Great or Pyotr Alexeyevich Romanov (Russian: ётр лексеевич оманов, ётр I, Pyotr
I, or ётр еликий, Pyotr Velikiy)” ruled from 1689 till 1721 (see Wikipedia, entry Peter I the Great).
125
Parts of the Chessboard
Although the central part of a battlefield is the most important, it contains also flanks.
ODE (2006:657) thinks that the word flank is of Germanic origin. However, more
convincing looks Skeat’s (1993:152) etymology deriving it from French flanc ‘literally:
the weak part of the body’ from Latin flaccus ‘soft’ with inserted ‘n’. The word flank is
very often used in military terminology, particularly with the adjectives left or right and
means ‘wing, side’ or, as a verb ‘surround’. However, in English chess terminology this
word is not used for the names of the sides of the chessboard but only in such
expressions as ‘to on the other flank’ or ‘flank attack’.
To name flanks English uses rather words kingside and queenside. Side is of
Germanic origin (ODE 2006:1642). The kingside is called the rectangle e1-e8-h8-h1
and the queenside a1-a8-d8-a1. Polish uses skrzydło królewskie ‘literally: ‘king’s wing’
and skrzydło hetmańskie ‘literally: queen’s wing’. The word flanka sounds very
colloquial and only the expression flankowy atak ‘flank attack’ is used in publications.
German Flügel in Königsflügel ‘kingside’ and Damenflügel ‘queenside’ is of German
origin means ‘wing’ and is derived from the verb fliegen ‘fly’ (Wermke 2001:223,228).
Russian фланг looks like a borrowing from Germanic flank.
The horizontal line divining the chessboard into two equal areas is named in quite
different ways in particular languages. The English use a geographical term equator
which entered “late Middle English: from medieval Latin aequator (...) from Latin
aequare ‘make equal’” (ODE 2006:586). The same word экватор exist in Russian.
However, Slavic languages use rather more military sounding linia demarkacyjna
(Polish) and демаркационная линия (Russian), both meaning ‘demarcation line’ which
means a border line, particularly between two armies during a ceasefire or a temporary
border between two states till the end of a border dispute.
Demarcation is of Germanic origin and is related to mark (see ODE 2006:461).
German Mittellinie is a compound Mitte ‘middle’ and linie ‘line’ which is based on
Latin linea (see ODE 2006:1018).
Stronghold
The word stronghold is a fortified place. It consists of two morphemes: strong and hold.
Strong is an Old English word of Germanic origin related to Dutch and German streng
(see ODE 2006:1753). Polish twierdza ‘stronghold’ comes from the adjective twardy
‘hard’. Both has been known in Polish since the 14th century as Old Polish ćwierdza
126
with alternative forms ćwirdza/twirdza/twierdza/ćwierdz/twierdz. The Proto-Slavic form
is probably *tvŕďa (see Bobryś 2005:656). German Festung (Middle High German
vestuge) derives from Middle High German vesten ‘strengthen’ (see Wermke
2001:213). Russian крепость also consist of an element of strength. It is a derivate
from the adjective крепкий ‘strong, hard’ which was known as early as in the 11th
century and has Balto-Slavic and German character and is related to English craft and
German Kraft and Old German kraptr ‘force’ (see Ситникова 2004:107).
In chess terminology stronghold is a special type of positional draw when the side
who has a material advantage (sometimes very big) cannot penetrate the opponent’s
camp. An example may be the position below. White can move with the king on g2 and
g1 or with the rook on g3 and e3 and Black’s king has no way to cross the third rank91
that is necessary to make any progress in the position.
XABCDEFGHY
8-+-+-+-+(
7+-+-+-+-'
6-+-+-+-+&
5+-+-mk-+-%
4-+-+-wq-+$
3+-+-+-tR-#
2-+-+-zPK+"
1+-+-+-+-!
xabcdefghy
Advantage
The word advantage comes from late Latin abante and reached English from Old
French avantage which was a derivate of avant ‘in front’. In Middle English it had the
form avantage (see Skeat 1993:5, ODE 2006:23). The internal structure of the words
meaning advantage seem to be the result of two kinds of associations: with weight
(Polish przewaga, German Übergewicht) or some beneficial place in the space with
elements in front or above (English advantage and upper hand, German Vorteil).
Russian перевес consists both elements. Only the English edge often used in sport
91
If Black want to win, he must capture the white f2-pawn. The ending K+Q against K+R is theoretically
won. Unfortunately, this is impossible.
127
breaks loose from this rule and has the main meaning ‘the sharp side of a blade or a
tool’.
In chess the basic term for Polish przewaga is ‘advantage’. The expression upper
hand suggests rather a big advantage and the word edge - small.
Strategy
The word strategy also comes from Greek stratēgia. This term originally meant
command (n). As a military term it is an art of leading a war or a battle entirely,
including all elements: preparations, command, supplies etc. Similarly to the previous
example, this word went into more general language and means the art of achieving
some deep aims, in particular within a long time. We can speak about economic
strategy, language learning strategy etc. In chess strategy is regarded as the planning
and conduct of the long-term objectives in a game. Moves directed primarily towards
this end are commonly referred to as positional play, as distinct from combinative play
(tactics). However, in the deepest sense strategy includes everything that is connected
with the fight on the board. In a well-conducted game tactics serves only strategic goals.
The last two words sound very similar in all four languages and are used in the same
way. They both are good examples how words go from a special language (here:
a military meaning) into general language (e.g. economy, politics, learning) and then
again to chess regaining their original sense. A few next terms are connected with
tactics.
Tactics
The word tactics is of Greek origin téchnē, (taktikē). In the beginning it was only
a military term the skill of efficient commandment of army. Then the term broadened its
meaning into a way of achieving some goals. In chess tactics is the art of conducting the
game, the means by which strategic plans are carried out.
Attack
The word attack sounds similar in all four languages. It cames into English in the 17th
century from French attaque (n) attaquer (v), which derive from Italian attacco ‘an
attack’, attaccare ‘join battle’ (see ODE 2006:101). As the etymology shows, it was
originally a military term and meant, like these days, an action in order to kill or capture
an enemy, destroy his equipment and weapons etc. However, this word has significantly
128
broadened its meaning. We can also attack a person both physically, hitting or harming
him/her and verbally e.g. by criticism or an insult. More figuratively sound the medical
use of attack e.g. ‘heart attack’, ‘asthma attack’. However, also here we deal with
a danger for a person being attacked. Expressions like hunger attack meaning a violent
need or feeling has much looser connection with the original meaning and are much
more metaphorical.
The word attack is, obviously, widely used in sport. Any attempts to score a goal in
football or handball, or a spike in volleyball, or a tackle in football in order to take the
ball from an opponent player are different forms of an attack.
In chess an attack is “an active threat. Its proportion may range from a single move to
a sustained assault on the enemy king on some other target lasting for most of the game.
Attacks of short duration are usually called threats. (...) A double attack is
a simultaneous attack against two separate targets; these may be enemy men or squares
the enemy needs to defend. A double attack by one man is called a fork” (Hooper
1984:18,94).
The examples of a double attack and a fork are presented below.
Greco,G – NN
Rome, 1620
1.e4 e5 2.Nf3 d6 3.h3 Nf6 4.c3 Nxe4?? 5.Qa4+
XABCDEFGHY
8rsnlwqkvl-tr(
7zppzp-+pzpp'
6-+-zp-+-+&
5+-+-zp-+-%
4Q+-+n+-+$
3+-zP-+N+P#
2PzP-zP-zPP+"
1tRNvL-mKL+R!
xabcdefghy
Black’s king is in check and the e4-knight is attacked. White wins a piece. 5...c6 6.Qxe4
1–0
129
Fork
A fork is a kind of a double attack.
1.Nf3 e6 2.e4 Bd6?! 3.d4 Nf6?? 4.e5
XABCDEFGHY
8rsnlwqk+-tr(
7zppzpp+pzpp'
6-+-vlpsn-+&
5+-+-zP-+-%
4-+-zP-+-+$
3+-+-+N+-#
2PzPP+-zPPzP"
1tRNvLQmKL+R!
xabcdefghy
The e5-pawn attacks both the d-bishop and the f6-knight. The mane fork (and its
calques in the other languages) is very adequate as the shape of the lines marked out
among the three chessmen resemble a fork.
Breakthrough
Breakthrough is also a typical military term e.g. breakthrough of the enemy’s defences.
Both break and through are of Germanic origin (see ODE 2006:209,1839). Polish
przełom is a calque is a calque of English breakthrough, however, the morphemes are in
different order. Both the prefix prze- and morpheme łom which is a derivate from the
verb łamać ‘break’ are of all-Slavic origin. The same situation is with Russian прорыв
(from the verb рвать ‘tear, break’) and German Durchbruch (see Wermke
2001:115,161).
Hooper (1984:48) defines breakthrough in chess as “the penetration of an apparently
well defended position, often by means of sacrifice”. A typical breakthrough often
occurs in pawn endings e.g.
130
XABCDEFGHY
8-+-+-+-+(
7zppzp-+-+-'
6-+-+-+-+&
5zPPzP-+-+-%
4-+-+-+-+$
3+-+-+-+k#
2-+-+-+-+"
1+-+-+-+K!
xabcdefghy
White can break through on the queenside by 1.b6! axb6 (1…cxb6 2.a6! bxa6 3.c6)
2.c6! bxc6 3.a6 and one of the white pawn reaches the eight rank.
Combinations
A double attack is the most frequent motif of combinations. It is not accidental since it
stems from the etymology of this word. It is visible that the word combination contains
a part of the element binary which means ‘consisting of two parts’ and derives from
Latin binarius with the same meaning. The Latin prefix bi- means ‘double’. The word
combination came into late Middle English from Latin combinatio ‘joint’ from the verb
combinare ‘combine’ (ODE 2006:343).
In chess combination is “a series of moves with a clear start and finish grounded in
tactics. A sacrifice is likely to be present and some, for example Botvinnik, say is
always present. The object may be anything from a defensive resource to a mating
attack, from a small positional advantage to a gain of material Essential for most
combinations and a reason for their popularity is surprise: the series of moves differs in
form from the kind of continuation normally to be expected” (Hooper 1984:72).
In the game below is the most beautiful one the author has managed to play. The
combination carried out is based on the motif of diversion.
131
Pańczyk,K - Schurade,M
Match Poland - DDR U26 Zakopane 1978
1.d4 Nf6 2.c4 e6 3.Nc3 d5 4.Bg5 Be7 5.e3 0–0 6.Rc1 h6 7.Bh4 c6 8.Nf3 Nbd7 9.Bd3
dxc4 10.Bxc4 Nd5 11.Bg3 Nxc3 12.bxc3 c5 13.0–0 b6 14.d5 Nb8 15.Ne5 a6 16.dxe6
Bxe6 17.Bxe6 fxe6 18.Qg4 Qc8 19.Qe4 Ra7 20.Ng6 Rf6
XABCDEFGHY
8-snq+-+k+(
7tr-+-vl-zp-'
6pzp-+ptrNzp&
5+-zp-+-+-%
4-+-+Q+-+$
3+-zP-zP-vL-#
2P+-+-zPPzP"
1+-tR-+RmK-!
xabcdefghy
“White’s pieces are well placed and Black certainly has some weaknesses, but for the
moment he seems to have just about everything covered. Of course, if there were no
rook on a7, things would be different...
21.Qa8!!
This overloads the black rook and wins at least an exchange. In fact, Black saw no
good reason to continue” (annotations to the game by GM John Emms, Emms
2000:53,57).
[21…Rxa8 (21...Bd8 22.Qxa7 Nc6 23.Ne7+! Nxe7 24.Rfd1) 22.Nxe7+] 1–0
In English and German the word combination and combine have retained their
original meaning. However, in Polish the word kombinacja ‘combination’ has some
pejorative connotations as well, and can mean machinations or manipulations. A similar
meaning may have the verb kombinować ‘literally: combine’, with pejorative meanings
‘to be up to something, to plot’. There are also derivates kombinator ‘wheeler-dealer’
and kombinatorstwo ‘wheeling and dealing’ which are still more pejorative. The same
situation is in Russian where комбинация ‘combination’, комбинировать ‘combine’,
комбинатор ‘heeler-dealer’, комбинаторство ‘wheeling and deeling’ may have
pejorative meaning.
132
The Sacrifice
The words sacrifice and offer had originally only sacral meaning. The noun sacrifice
derives from Latin sacrificium which literally meant ‘a rendering sacred’ and came into
Middle English through Old French sacrifice, whereas the verb sacrifice originates from
Latin sacrificare ‘to sacrifice. Both words are related to sacer ‘sacred’ (see Skeat
1993:411). The word offer is used in chess nomenclature rather as ‘proposal’ or
‘propose’. However, sometimes may mean sacrifice. ODE (2006:1220) states that it
comes “from Old English offrian ‘sacrifice something to a deity’ which derives “from
Latin offere ‘bestow, present’ (in ecclestiastical Latin ‘offer to God’) (…) the noun (late
Middle English) is from French offre.”
The Polish word ofiara and German Opfer sound very similar and have the same
origin. The word ofiara was known in Old Polish as early as in the 14th century, also in
the form ofiera. The main meaning is the same as above – to sacrifice something to God
or to give somebody something valuable (see Boryś 2005:382). The second Polish word
poświęcenie ‘consecration, blessing, sacrifice’ and the verb poświęcić ‘consecrate,
bless, sacrifice’ also had originally religious meaning. The Russian жертва is a loan
from Old Slavonic and appeared in Old Russian in the 11th century as жрьтва. It is
a derivate from the verb жрьтви (now жертвовать) ‘to sacrifice’. Similarly to the
other languages the meaning of the word has broadened and can mean also a gift,
a resignation from something important (see Грубер 2007:254-255).
Sacrifice in chess is “a move that gives up material to gain positional or tactical
advantage; to make such a move” (Hooper 1984:291). A sacrifice is a term deeply
connected with tactics. Most of them are some preparations to the attack on the king.
However, positional sacrifices also occur in chess games. The unexcelled master of
combinations was the former world champion Michail Tal.
Tal,M - Tringov,G [B06]
Amsterdam Interzonal 1964
1.e4 g6 2.d4 Bg7 3.Nc3 d6 4.Nf3 c6 5.Bg5 Qb6 6.Qd2 Qxb2 7.Rb1 Qa3 8.Bc4 Qa5
9.0–0 e6 10.Rfe1 a6 11.Bf4 e5 12.dxe5 dxe5
133
XABCDEFGHY
8rsnl+k+ntr(
7+p+-+pvlp'
6p+p+-+p+&
5wq-+-zp-+-%
4-+L+PvL-+$
3+-sN-+N+-#
2P+PwQ-zPPzP"
1+R+-tR-mK-!
xabcdefghy
13.Qd6! White makes impossible Black's castling. However, two his pieces are left
unprotected... 13...Qxc3 [13...exf4 14.Nd5 Nd7 (After 14...cxd5 15.exd5+ White has
a mating attack.) 15.Ng5 (15.Nc7+ Kd8 16.Nxa8 wins easily as well.) 15...Ne5 16.Nc7+
Qxc7 17.Qxc7 Nh6 18.Be6 0–0 19.Bxc8 Rfxc8 20.Qxb7+-] 14.Red1 With the threat
15.Qd8# 14…Nd7 15.Bxf7+!
XABCDEFGHY
8r+l+k+ntr(
7+p+n+Lvlp'
6p+pwQ-+p+&
5+-+-zp-+-%
4-+-+PvL-+$
3+-wq-+N+-#
2P+P+-zPPzP"
1+R+R+-mK-!
xabcdefghy
Another sacrifice demolishing the position of the black king. 15...Kxf7 16.Ng5+ Ke8
17.Qe6+ Black resigned. White mates in two moves.17.Qe6+ Kd8 (17...Ne7 18.Qf7+
Kd8 19.Ne6#) 18.Nf7+ Kc7 19.Qd6#
The words sacrifice, offer and their equivalents in the other languages are also
examples of lexical extension from religious, liturgical into more general language
retaining some figurative sense. It is also typical that such words adopted by chess
134
terminology become closer to the original meaning again.
However, it must be added that the word ofiara ‘sacrifice’ in Polish has also negative
connotations and may mean ‘sucker, dud’ and the expression ofiara losu ‘born loser’
also sounds offensive.92 The reason may be here that a sacrifice may be perceived both
as something valuable given as a gift and something very passive which cannot defend
itself and is doomed to be destroyed. Similar figurative meaning has the Polish
expression kozioł ofiarny ‘scapegoat’ but literally ‘sacrifical goat,’93 which describes
somebody whom people lay the blame. It is a figure of biblical scapegoat which took
over responsibility for people’s sins.
Germans use a metaphorical expression politisches Bauernoffer ‘literally: political
pawn sacrifice’.
Pin
A pin is “a situation in which a line-piece94 (the pinning man) holds down an enemy
man (the pinned man)” (Hooper 1984:254) which conceals another, much more
valuable piece or the king e.g.
1.d4 Nf6 2.c4 e6 3.Nc3 Bb4
XABCDEFGHY
8rsnlwqk+-tr(
7zppzpp+pzpp'
6-+-+psn-+&
5+-+-+-+-%
4-vlPzP-+-+$
3+-sN-+-+-#
2PzP-+PzPPzP"
1tR-vLQmKLsNR!
xabcdefghy
92
The Russian calque жертва судьбы has different meaning ‘somebody heavily experienced by a fate’
which arises rather compassion than disdain.
93
In the other languages this word does not have any connection with sacrifice e.g. German Sündebock
(Sünde ‘sin’, Bock ‘goat’), козёл отпущения ‘literally: goat of absolving sins’.
94
Line piece is a queen, a rook and a bishop.
135
The c3-knight is pinned by the b4-bishop. The situation resembles a prisoner of war,
who is bound and is temporarily excluded from the fight. The word pin is used in sport
and as a military term meaning ‘to put pressure’. Pin entered late Old English as pinn
from Latin pinna ‘point, tip edge’ (see ODE 2006:1326). The Slavic languages name
the pin with equivalents of English bind. Polish wiązać (v) and Russian вязать are an
all-Slavic words with proto-Slavic reconstructed forms *vęzati, *vęžọ (see Bobryś
2005:688). The German fesseln means ‘to put sb in fetters’.
Defence
The word defence was known in Middle English and comes “from Old French defens
from late Latin defensum (neuter), defensa (feminine), past participles of defendere
‘defend’. Polish obrona has been known since 15th century and is a derivate of the verb
bronić which is the all-Slavonic word. It is related to broń ‘weapon’ and brama ‘tower’.
However, Russians do not use in chess terminology the word оборона but защита. On
the other hand, German Verteidigung do not have military origin and originally was
a law term meaning ‘defending his/her opinion’. In chess it is also a part of names of
openings e.g. the Sicilian Defence.
Sally, Sortie
A sally or a sortie are elements of war tactics. MEDAL (2006:1253, 1366) defines the
military meaning of sally as ‘a sudden attack, especially one made from a place that is
surrounded by an enemy’ and sortie as ‘a flight by a military aircraft’ or ‘a sudden
attack by soldiers’. Another meaning is a kind of journey. In chess these terms are used
for a long, usually aggressive move. Sally entered “late Middle English: from French
saillie, feminine past participle (used as a noun) of saillir ‘come or jut out’, from Old
French salir ‘to leap’, from Latin salire” (ODE 2006:1557). Sortie is also of French
origin and reached English in the late 18th century. It is derived from feminine past
participle of sortir ‘go out’ (ODE 2006:1689). German Ausfall has similar military
meaning and is of Germanic origin (Wermke 2001:202). Polish wypad and Russian
выпад are all-Slavic words from proto-Slavic *pasti, *padọ and proto-Indo-European
*ped ‘fall’ (see Boryś 2005:417).
March
The word march came into late Middle English from French marcher ‘march (v)’
136
(earlier ‘trample’) (ODE 2006:1072, Skeat 1993:271). Its origin is disputed. Skeat
suggests Low Latin marcare* ‘to beat (v)’ (hence to tramp) or from French
marche (n)‘frontier’. This word sounds similarly in all the languages. It reached Polish
via French and German (see Brückner 1957:324) and to Russian from Polish at the
beginning of the 18th century (see Грубер 2007:378). The word march (v) means ‘to
walk with a regular step’ and is often associated with walking troops of soldiers. Chess
annotators usually use this word to describe a few successive moves of a king or pawns.
Route
The word route is connected reached Middle English “from Old French rute ‘road’ from
Latin rupta (via) ‘broken (way)’ feminine past participle of rumpere“(ODE 2006:1537)
‘break’. It denotes “a way from the starting point to a destination” (ODE 2006:1537).
This term is often used in chess, in particular when describing march of a king which
may have a few different variations. It is interesting that the counterparts in the other
languages (Polish marszruta, German Marschroute and Russian маршрут) consist of
two morphemes: the counterparts of English march and route.
Phalanx
Another term used when describing offensive play is phalanx. This word derives from
Greece and entered English in the middle of 16th century via Latin. It was originally
a military term denoting a compact formation of Macedonian heavy infantry consisting
of a few rows. Its present meaning has not changed much as it describes a close
formation of soldiers or police forces (see ODE 2006:1319, Tokarski 1980, 209). The
equivalents of this word in the other languages sound similar. In chess terminology
phalanx is a group of united advanced pawns.
Trap
As long as wars have been waged, commanders have set ambushes for enemy units e.g.:
pits, hidden positions of troops etc. Although the word trap suggests something smaller
than ambush (the same refers to the equivalent pairs pułapka – zasadzka, ловушка -
засада in Polish and Russian, respectively) it bears the same character. The word trap
was known in “Old English as trappe (in coltetræppe ‘Christ’s thorn’); related to
Middle Dutch trappe and medieval Latin trappa, of uncertain origin. The verb dates
from late Middle English“ (ODE 2006:1876). The Polish equivalent pułapka comes
137
from the verb łapać ‘catch’ and has the main meaning ‘a device to catch small rodents’.
The Russian ловушка derives from the verb ловить ‘to catch into a trap’. The German
Falle is a derivate from the verb fallen ‘fall’. More seriously and military sounding
words: English ambush and the Polish equivalent zasadzka are not used in chess.
A trap in chess “is a line or play that a player may wrongly suppose to be
advantageous and which his opponent may tempt him to play” (Hooper 1984:359).
A good example may be the following game:
Nimzowitsch,A - Alekhine,A
RUS-ch Vilnius, 1912
1.d4 d5 2.Nf3 c5 3.Bf4 Nc6 4.e3 Nf6 5.Nc3 Bg4 6.Bb5 e6 7.h3 Bh5 8.g4 Bg6 9.Ne5
Qb6 10.a4 a5 11.h4 h5 12.Nxg6 fxg6 13.gxh5 gxh5 14.Qe2 0–0–0 15.0–0–0
XABCDEFGHY
8-+ktr-vl-tr(
7+p+-+-zp-'
6-wqn+psn-+&
5zpLzpp+-+p%
4P+-zP-vL-zP$
3+-sN-zP-+-#
2-zPP+QzP-+"
1+-mKR+-+R!
xabcdefghy
It seems that White overlooked the simple 15...cxd4 16.exd4 Nxd4 but after 17.Rxd4!
Qxd4 18.Qxe6+ Nd7
138
XABCDEFGHY
8-+ktr-vl-tr(
7+p+n+-zp-'
6-+-+Q+-+&
5zpL+p+-+p%
4P+-wq-vL-zP$
3+-sN-+-+-#
2-zPP+-zP-+"
1+-mK-+-+R!
xabcdefghy
White had a real bolt from the blue 19.Qc6+!! bxc6 20.Ba6 with a mate.
Alekhine played 15...Bd6 16.Bxd6 Rxd6 with an equal position.
One of typical traps in the Queen’s Gambit is metaphorically called elephant trap.
1.d4 d5 2.c4 e6 3.Nc3 Nf6 4.Bg5 Nbd7 5.cxd5 exd5
XABCDEFGHY
8r+lwqkvl-tr(
7zppzpn+pzpp'
6-+-+-sn-+&
5+-+p+-vL-%
4-+-zP-+-+$
3+-sN-+-+-#
2PzP-+PzPPzP"
1tR-+QmKLsNR!
xabcdefghy
Black can apparently take the d5 pawn as after counting that the f6-knight is pinned.
Nevertheless after 6.Nxd5?? Black would play 6…Nxd5! 7.Bxd8 Bb4+! 8.Qd2
Bxd2+! 9.Kxd2 Kxd8 winning a piece (Basman 1989:166).
Battery
Battery is a typical military term and sounds very similar in all examined languages. It
came into Middle English from Old French baterie, “from Latin battuere. The original
139
sense was ‘metal articles wrought by hammering’, later ‘a number of pieces of artillery
used together’” (ODE 2006:139). This last meaning has been current up to now.
Although there is no artillery in chess, as no line piece can jump over opponent’s
pieces, the term battery is present, particularly in chess problems. A battery is a set of
two, three or four pieces on one line which are focused on one aim. A battery consists of
a covered piece and a covering piece (see Litmanowicz 1986:66). An example may be
the game: NN - R. Fine 1937. Black’s battery Bg4 and Nf3 works very effectively:
XABCDEFGHY
8-+ktr-vl-tr(
7zpp+-+pzpp'
6-+p+-+-+&
5+-sn-+-+-%
4P+N+-vLl+$
3+-sN-zPnzPP#
2-zP-+KzP-+"
1tR-+-+L+R!
xabcdefghy
1…Rd2+! The rook blocks the d2-square 2.Nxd2 Nd4+ 3.Ke1 Nc2 mate.
Windmill, See-Saw
A very specific type of using a battery is so called ‘windmill’ with the equivalents
młynek95, Zwickmühle96 and мельница in Polish, German and Russian respectively. It is
“a combination consisting of two line pieces giving of consecutive checks in matched
pairs and so that every other check is a discovered check by means of which, on
occasion material may be gained” (Hooper 1984:303).
95
Polish młynek is a diminutive form of młyn and is usually used as ‘grinder’, a device to grind coffee or
pepper, as well as a game known in English terminology as Nine Men´s Morris.
96
The German word Zwickmühle consists of two morphemes Zwick ‘pinch (n) or strike (n) with the end
of a whip’ and Mühle ‘mill’, and means ‘kind of game’ or figuratively ’predicament’.
140
Torre Repetto,C - Lasker,E Moscow, 1925
XABCDEFGHY
8r+-+rsnk+(
7zpl+-+pzp-'
6-+-zpp+-zp&
5+q+-+-vLQ%
4-zP-zP-+-+$
3+-+-sN-tR-#
2P+-+-zPPzP"
1+-+-tR-mK-!
xabcdefghy
White continued 25.Bf6!! Qxh5 26.Rxg7+ Kh8 27.Rxf7+ Kg8 28.Rg7+ Kh8
29.Rxb7+ Kg8 30.Rg7+ Kh8 31.Rg5+ Kh7 32.Rxh5 Kg6 33.Rh3 Kxf6 34.Rxh6+
Kg5 35.Rh3 Reb8 36.Rg3+ Kf6 37.Rf3+ Kg6 38.a3 a5 39.bxa5 Rxa5 40.Nc4 Rd5
41.Rf4 Nd7 42.Rxe6+ Kg5 43.g3 1–0
The work of the mechanism of chess windmill resembles a real revolving windmill
or a working grinder. In is interesting that in English this combination has also an
alternative name see-saw. Two things are worth adding: firstly, English people have
a different additional association with the discussed mechanism, secondly, the word seesaw is used figuratively as a situation which is very changeable, often very rapidly e.g.
emotional see-saw. Russian also say настроение как на качелях ‘literally: mood like
on the see-saws’.
Outpost
The term outpost may be morphologically divided into two morphemes: out meaning
‘away from’ and post ‘a place where soldiers are stationed’. This word entered English
in the middle of the 16th century “from French poste, from Italian posto, from
a contraction of popular Latin positum, neuter past participle of ponere ‘to place’”
(ODE 2006:1375). Both German Vorposten and Russian форпост consist the two
elements. Polish placówka does not contain the element of ‘away from’. It is a derivate
from plac. In present-day Polish it may mean ‘square, circus’, ‘yard’, ‘plot of land’.
However, in the past is was ‘the place of a duel or a battle’. Plac is a borrowing from
141
German Platz ‘place, plot of land’ which was taken via Romance languages (e.g. French
place with the same meaning) was taken from Greek plateia ‘broad way, street, square’
that was a derivate from Greek platýs ‘broad, flat’ (see Boryś 2003:438).
Outpost in chess is a square in the opponent’s camp “that is guarded by a pawn but
cannot be attacked by an enemy pawn. One player’s outpost is his opponent’s hole.
Possession of an outpost is likely to be advantageous if it can be occupied by pieces,
a salient in enemy territory” (Hooper 1984:235). An outpost is usually an excellent
place for a knight. Russians call the knight occupying an outpost вечный конь ‘eternal
knight’.
Alekhine,A - Nimzowitsch,A
San Remo San Remo, 1930
1.e4 e6 2.d4 d5 3.Nc3 Bb4 4.e5 c5 5.Bd2 Ne7 6.Nb5 Bxd2+ 7.Qxd2 0–0 8.c3 b6? 9.f4
Ba6 10.Nf3 Qd7 11.a4! Nbc6 12.b4!.cxb4 13.cxb4 Bb7 14.Nd6 White has an excellent
placed knight on the d6-outpost which restricts Black’s play on both sides of the
chessboard.
XABCDEFGHY
8r+-+-trk+(
7zpl+qsnpzpp'
6-zpnsNp+-+&
5+-+pzP-+-%
4PzP-zP-zP-+$
3+-+-+N+-#
2-+-wQ-+PzP"
1tR-+-mKL+R!
xabcdefghy
14...f5 15.a5! Nc8 [15...bxa5 16.b5 Nd8 17.Rxa5± (Coles)] 16.Nxb7 Qxb7 17.a6!
Although Black managed to exchange the d6-knight White achieved a strong initiative
on the queenside and Black has problems with coordination of his pieces. 17…Qf7
[17...Qe7 18.Bb5 Nxb4 19.Rb1+- (Alekhine)] 18.Bb5! N8e7 19.0–0 h6 20.Rfc1 Rfc8
21.Rc2 Qe8 [21...Nd8 22.Rac1 Rxc2 23.Rxc2 Rc8 24.Bd7 (24.Rxc8 Nxc8 25.Qc3+(Alekhine) 25...Ne7 26.Qc7+- (Coles)) 24...Rxc2 25.Qxc2] 22.Rac1 [22.Ra3! Rc7
142
23.Rac3 Rac8 24.Qc1 (Alekhine)] 22...Rab8 23.Qe3 Rc7 24.Rc3 Qd7 25.R1c2 Kf8
26.Qc1 Rbc8 27.Ba4! b5 28.Bxb5 Ke8 29.Ba4 Kd8 30.h4! h5 31.Kh2 g6 32.g3+- 1–0
XABCDEFGHY
8-+rmk-+-+(
7zp-trqsn-+-'
6P+n+p+p+&
5+-+pzPp+p%
4LzP-zP-zP-zP$
3+-tR-+NzP-#
2-+R+-+-mK"
1+-wQ-+-+-!
xabcdefghy
The final position is absolutely unique Black is terribly pinned and is in zugzwang
having nearly all pieces.
Block
The word block in Middle English denoted a log or tree stump and came from Old
French bloc (n), bloquer (v) which derive from Middle Dutch blok of unknown ultimate
origin (see ODE 2006:179). The equivalents of block and blockade sound similar in the
other languages. In Polish this word came from Germany. In the past the other form
bloch also existed. In the seventeenth-century Polish it meant ‘watchtower’ (see
Brückner 1957:29).
A good example a blockade in chess is the game
143
Reshevsky,S - Petrosian,T
Candidates Tournament Zurich 1953
XABCDEFGHY
8-+-trq+k+(
7+-+-trpzpp'
6-+n+-+l+&
5zpp+-zP-+-%
4-+pzP-wQL+$
3zP-zP-tR-+-#
2-vL-+-+PzP"
1+-+-tR-mK-!
xabcdefghy
White’s position looks better owing to the initiative on the kingside and the strong
central pawns. Petrosian sacrifices the exchange in order to place the knight on the ideal
square d5 and achieved good compensation. 25...Re6! 26.a4 Ne7 [26...b4 27.d5 Rxd5
28.Bxe6 fxe6 29.Qxc4] 27.Bxe6 fxe6 28.Qf1 Nd5 29.Rf3 Bd3 30.Rxd3 cxd3 31.Qxd3
b4 32.cxb4 [32.c4 Nb6 33.Rc1 Nxa4 34.Ba1 Qc6; 32.c4 Nb6 33.d5 exd5 34.c5 Nxa4
35.Bd4 Rc8 36.Qf3 Qe6] 32...axb4 [32...Nxb4 33.Qb3 Nd5; 32...Nxb4 33.Qb5 Qxb5
34.axb5 Nd3 35.Re2 Rb8 36.Rd2 Rxb5 37.Rxd3 Rxb2 38.d5=] 33.a5 Ra8 34.Ra1 Qc6
35.Bc1 Qc7 [35...Rxa5? 36.Rxa5 Qxc1+ 37.Qf1 Qe3+ 38.Kh1 h6 39.Ra8+ Kh7
40.Qb1+ g6 41.Ra7+ Kh8 42.h3] 36.a6 Qb6 37.Bd2 b3 38.Qc4 h6 39.h3 b2 40.Rb1
Kh8 41.Be1 Draw [Annotations by D. Bronstein]
Resignation
When a chess-player acknowledges himself beaten, he resigns. Both English and
German words do not sound very military: aufgeben means also ‘resign’. More typical
war words would be rather in English: surrender or capitulate and in German sich
ergeben or kapitulieren. The international word capitulate from medieval Latin
capitulare is present in the other languages: Polish kapitulować, Russian
капитулировать, however, they are rather seldom used. On the other hand, the
expression ‘to lay down one’s arms’ with the counterparts złożyć broń, Waffe strecken,
and сложить оружие in Polish, German and Russian, respectively, occurs more often.
144
A Draw
Draw is a word of Germanic origin M.E. drawen, Anglo-Saxon dragan, Danish drage,
German tragen and means to pull along, to carry (see Skeat 1993:124). The use of it as
a result of a game with an even score looks a little strange. Many languages derive this
word from the French remis meaning ‘to put off’, ‘played once again’: German Remis,
Dutch remise, Swedish Remi, Serbian remi, Slovenian and Czech remiza. However,
French people, when talking of sport, do not use this word but égalité or match nul and
in chess partie nulle. Other origin have Russian ничья ‘literally: belonging to nobody’,
German Unentschieden ‘literally: undecided’ and Polish nierozegrana (practically not
used now) ‘literally: not played’. As mentioned when discussing the term stalemate, the
Italians use the term patta for a draw.
4.7 Miscellaneous
The table below contains different chess terminology which relates to various issues of
chess which has not been included in the previous lists but are of some linguistic
interests e.g.: borrowings, colloquialisms etc.
Table 7 Miscellaneous Expressions
English
Polish
German
Russian
master
mistrz
Meister
мастер
champion
mistrz
Meister
чемпион
championship
mistrzostwa
Meisterschaft
чемпионат
patzer, knight/rook
fuszer
Patzer
пижон, чайник
ranking
Wertung, Rang,
рейтинг
etc-player
ranking, rating
Rating
Simultanvorstellung сеанс
simultaneous display,
seans gry
coll. simul
jednoczesnej,
одновременной
symultana
игры
изолированная
isolated pawn, coll.
izolowany pion,
isolierter Bauer,
isolani
coll. izolak
Einzelbauer, Isolani пешка, изолятор
time trouble, zeitnot,
niedoczas
Zeitnot
145
цейтнот,
English
Polish
German
Russian
недостаток/нехват
time shortage
ка времени
inserted move, in
wtrącony ruch
Zwischenzug
промежуточный
ход
between move,
zwischenzug
zugzwang
zugzwang, przymus Zugzwang
цугцванг
gardez
gardez
Gardez
гарде
to make a vent
lufcik
Luftloch
окошко, форточка
The Master, Champion
Any sport discipline has its titles and words which show the level a particular
competitor has obtained. Master is somebody who has achieved very high skills. The
word master entered the Middle English as maister from Old French maistre which is
derived from Latin magistrum, acc. of magister ‘master’ (see Skeat 1993:265). Polish
mistrz has the same origin and reached Polish in the 15th century via Czech mistř, mistr
(see Długosz-Kurbaczowa 2003:312) as well as German Meister (Middle High German
meister Old High German meistar). The Russian мастер reached Old Russian not later
than in the 10th century from Greek mastoras ‘master, craftsman’ (see Ситникова
2004:129).
The word champion meant ‘fighting man’ in Middle English and derives from
medieval Latin campio(n-) ‘fighter’ and entered English through Old French. It is
related to Latin campus ‘level ground’ (see ODE 2006:249, 286). The Russian word
чемпион has the same origin.
Although there is a Polish word meaning the same and pronounced nearly in the
same way spelt champion or czempion, but it is used quite rarely and means something
different. Champion in English is somebody who has won a significant sports
competition or a chess tournament, but Polish meaning of this word is ‘master of sport’.
Therefore someone who won Polish Championship will be called in Polish mistrz Polski
and not czempion Polski ‘champion of Poland’. The same situation is in German where
Champion is a master in a particular sports discipline. It is worth adding that in both
languages the equivalents of the word ‘championship’ have the stem taken from master:
mistrzostwa, Meistershaft in Polish and German, respectively.
146
Patzer97
The opposite of master in chess is a bad player. Such players, particularly if they have
excessive ambitions or are unable to assess objectively his low level of playing, have
always been subjects of making fun, which has sometimes been immortalized in
anecdotes about great players. Hence, chess vocabulary formed a lot of contemptuous
terms for him. The most popular is patzer, after German patzen ‘to bungle’, or ‘to
botch’. Germans call a weak player in the same way. Other English terms are fish,
woodpusher, duffer. Interesting are obsolete terms like knight/rook etc. player. Hooper
(1984:168) defines a knight player as “a player who would expect to receive odds98 of a
knight from a first class opponent. This way of classifying players [was] common in the
19th century”.
Poles use usually the name fuszer from German Pfuscher with a similar meaning.
Russians, on the other hand have different associations. A patzer is called пижон
‘literally: fribble, dandy’ or чайник ‘literally: kettle’.
Ranking
There are two English words which access the strength of particular chess-player: rating
and ranking. The former one is related to the verb rate which means ‘classify’ and the
noun of the same form in meaning ‘level’. It comes from Old French rate from Latin
ratus (see Skeat 1993:391).
The word rank “meaning ‘row, line’ [16]99 and hence ‘position of seniority’ was
borrowed from Old French ranc (source also of English range), which goes back via
Frankish *hring to a prehistoric Germanic *khrengaz ‘circle, ring’ (ancestor of English
ring)“(Ayto 1990:431).
The other languages taken into consideration have calques of rating (Russian,
German) or ranking (Polish). Only German has the original German word Wertung
‘classification. assessment’.
It is worth adding that the way of calculating chess rating differs much from other
sports disciplines like football. The official FIFA100 rating system is based on adding
97
Cf with subchapter 2.5.1.2.
Odd in chess in a handicap. If a stronger player gives an odd of a knight, he begins a game without
a knight.
99
It means that the words come from the 16th century.
100
Fédération Internationale de Football Association - ‘International Federation of Association Football’.
98
147
some points for various according to different criteria like: results, number of goals,
range and place of a match (home or away-from-home) etc., all within an established
period of time However, this system has an irremovable defect - it does not measure the
real level of particular teams. For example, a team, which plays fewer matches will be
classified lower in spite of the fact that it did not lose its high sports level (see
Wikipedia, entry “Ranking FIFA”).
Chess rating system was invented by professor Arpad Elo and is based on scientific
criteria. He used the mathematical theory - statistics. He assumed that “the chess
performance of each player is a normally distributed random variable” (see Wikipedia,
entries “Elo rating system”, “Ranking szachowy”). Obviously, the exact presentation of
this system goes far beyond the scope of this dissertation. Nevertheless, it must be said
that this system does not have most defects of other ranking systems. The only one is
a small inflation.
The last two paragraphs apparently look as if they were loosely connected with the
main subject of the work. However, it is not true, as they show the mutual interaction of
science and linguistics. The word ranking in the past was associated with a list of
sportsmen or teams which not always reflected their real value. But in chess, the
number assigned to each player represents his/her real relative strength. Even results
from different times may be compared. Therefore, it may be said that the meaning of the
word has partly changed. It is not the same as it was several dozen years ago and has
mutated from a list classifying particular players to a precise tool measuring the strength
of particular player. Moreover, ranking is a word more and more often used as it
became the most important criterion in all aspects of chess career e.g. conditions offered
in tournaments, fees, invitations to the best tournaments etc.
Colloquial Words
The borderline between colloquial language and jargon is very tenuous. Not to engage
in detailed discussion jargon is language used by a particular closed group of people and
colloquial language an informal style. It is not as expressive as jargon and rather tends
to simplification and often uses abbreviations, clipping etc. An example of a back
clipping is the word simul which is a colloquial name for ‘simultaneous display’. It is
“a number of games played simultaneously by one player who walks from board to
board making his moves” Hooper (1984:311). Polish also has a colloquial name
symultana. The full name ‘seans gry jednoczesnej’ is rarely used.
148
A pawn is isolated when there are no pawns on adjourning files. Isolani is a jargon
word coined by Aron Nimzowitsch101 for the isolated queen’s pawn. It exists in English
and German. Polish jargon word for isolated pawn is izolak and Russian изолятор.
However, in the Slavic languages this term refers to any isolated pawn.
By contrast with jargon such words are sometimes used even in writing. In no case
can such words be offensive.
German and French Borrowings
There are a few words borrowed, especially from German, which are used in other
specialist languages.
Zeitnot is a German word which consists of two morphemes: Zeit means ‘time’ and not.
The main meaning of the latter one is ‘need’, however, it can also mean, ‘poverty’,
‘shortage’ or ‘trouble’. The last two word correspond best to the meaning ‘time
shortage’. This word is used in English and German. Russian цейтнот sounds nearly
the same. Polish niedoczas looks like a calque of it with a different order of morphemes.
Niedo- is the first element of compound words. As a part of a noun denoting a state it
suggests a shortage compared with the basic noun (see USJP, entry: ‘niedo-‘) whereas
czas means ‘time’. Polish dictionaries allow to use this word also in a general language
as a colloquial expression with the same meaning.
Zwischenzug is another German word often used in English chess publications for
inserted move. Zwischen means ‘between’ and zug ‘move’. It is usually a check during
a series of exchanges.
Zugzwang is a typical chess word. Unfortunately, this word is almost unknown and in
general it is no use looking for this word even in great dictionaries. Although zugzwang
is a typical German word it is absent in Wielki słownik niemiecko - polski. ‘Great
German-Polish Dictionary’ (Piprek 1972). Nevertheless, to the author’s satisfaction
ODE (2006:2053) explains this word as “situation in which the obligation to make
a move in one’s turn is a serious, often decisive disadvantage.” The word came into
English in the “early 20th century from German Zug ‘move’ + Zwang ‘compulsion’.”
101
Aron Nimzowitsch (1886 - 1935) a Danish unofficial chess grandmaster born in Latvia, chess writer
(see Wikipedia, entry: Aron Nimzowitsch, Hooper 1984:153).
149
The other languages adopted this word, only in Polish the native word przymus is
sometimes used.
Language, especially in the age of globalization, has some features of great market.
Sometimes words need to be promoted. Some of them are popular because they are used
by people with authority (not always well-deserved), writers, journalist or are often
repeated on TV. A few years ago such an event seems to have taken place with the word
zugzwang. Roman Benett, an Irish novelist and screenwriter has published a novel
entitled Zugzwang. In 2006 it was printed week-by-week in The Observer (see
Wikipedia, entry: Roman Benett). It is a political thriller. Its plot is set in Saint
Petersburg (then called Petrograd) in 1914 just before the outbreak of the World War I.
A great chess tournament was to be held soon. The author joins three elements which
are in a specific way compulsive: zugzwang in a game of chess playing between two
amateur players, the complex political situation in tsarist Russia, full of intrigues and
plots, secret police invigilation, and serious personal problems of the main characters. In
all cases the situation seems to not have a reasonable solution and any move only makes
it worse. It is a very apt metaphorical usage of the chess expression. Commenting the
novel, the author made allusions to the present political situation in the world, in
particular growing conflict between Islam and the civilization of the West which
resembled those in the novel.
The situation in the diagram depicts a typical zugzwang, the so called reciprocal
zugzwang. He who is to move loses the game since his king has no other square to
defend his own pawn.
XABCDEFGHY
8-+-+-+-+(
7+-+-+-+-'
6-+-+-+-+&
5+-+pmK-+-%
4-+kzP-+-+$
3+-+-+-+-#
2-+-+-+-+"
1+-+-+-+-!
xabcdefghy
150
Having an extra move is normally profitable. So, zugzwangs usually occur in
endgames where material is strongly reduced. It is a pity that this word has not entered
general language so far, as some metaphorical sense of it could be found in everyday’s
situations.
Gardez is of French origin and is a courteous expression used as a warning against
capturing the queen. The courtesy arose out of the fact that the French name of the
queen - dame ‘literally: lady’ was, like in English, the only woman’s piece on the
chessboard. Now this term is not used, unless in some friendly games between
amateurs.
‘Window Vent’
Calques of this nice metaphorical expression are often used to describe moves such as
h3 or g3 (...h6 or ...g6 for Black) in order to avoid a mate on the 1st (8th for Black) rank.
Polish lufcik, German Luftloch and Russian форточка mean exactly ‘window vent’.
Russians have also окошко ‘small window’. However, English chess-players use
another expression: ‘to make a vent’.
XABCDEFGHY
8-+-+-+k+(
7+-+-+p+p'
6-+-+-+p+&
5+-+-+-+-%
4-+-+-+-+$
3+-+-+-+P#
2-+-+-zPP+"
1+-+-+-mK-!
xabcdefghy
The diagram illustrates the metaphorical meaning of making a vent - the h2-square has
been freed for the white king and g7 for the black one.
151
Conclusions
The main goal of this dissertation was to show chess in a broad context: linguistic,
cultural, historical and even philosophical in order to study what kind of concept of the
world it imposes. The formulated hypothesis assumed that as a strategic game, chess
should associate with war, fight and competition.
The gathered material and conducted analyses proved that the assumption was fully
accurate. Nearly the whole chess vocabulary can be a beautiful metaphor of a struggle,
both between two opponents and with our own weaknesses. Chess, like life, is a fight.
The chessboard is a real battlefield, the place of our victories or defeats.
The chessboard, like a battlefield has a specific territory. The chessmen move around
the chessboard like relocating soldiers. The pieces can move along files, ranks and
diagonals, only knights can jump. A sequence of moves is a manoeuvre, like in army.
Mobility of soldiers is also restricted and diversified. Some pieces are stronger, more
mobile, other weaker. Each move must be thought over as it often has serious
consequences. Some of them (pawn moves) cannot be withdrawn. Not all squares on the
chessboard are of the same importance (key squares, outposts) like in a real battle
winning a strategic point may be a decisive factor. Not all stages of the battle are
equally important. There are some crucial moments (in chess key positions). When the
fight reaches its climax any error usually results in a defeat.
Each game is a battle. It resembles each following day with its different problems we
have to face. Consecutive days of life are like a chess tournament - the next opponent is
going to overcome you. A chess-player has its chessmen like a commander his soldiers.
The obedience to the leader is even better than in army - a piece cannot rebel. It must go
where it will be placed. If you decide to exchange or sacrifice it, it will die
unquestioningly for the success in the whole game. Not all pieces have the same rank.
King is the commander-in-chief, the queen is his closest person (wife advisor or
commander in different languages). Officers are the other pieces bishops (in some
languages communications officers) and knights (cavalry). Pawns are ordinary foot
soldiers and rooks are fortified castles.
Both a chess game and a battle need logical thinking, planning an analysis how to
command the soldiers or chess pieces. It includes both strategy and tactics
(combinations), needs accurate calculation and anticipation. The commander must have
152
in his repertoire some unconventional tricks (gambit). It often pays to risk both during
a war and in life. A chess game has some phases. The fight begins before the game. It is
reconnaissance - collecting information. The first stage of the game - and opening is like
mobilisation. Then the actions intensify - it is middlegame. Pieces die like soldiers.
Sometimes the commander may be in danger (check) or die (mate). If not, the tension
usually diminishes and the final part of a game (ending.) starts.
Much more expressive are poets’ descriptions. Let us return once again to the two
poems by Vida (1983) and Kochanowski (1966). The subject of both poems is a game
of chess. Both poets saw it as a ruthless, cruel fight. As mentioned earlier, chessmen are
described as two wooden armies set up in battle array. They wage a war. The pieces
have names representing soldiers: knights, horsemen, foot soldiers, archers etc. They are
armed with swords, bows, arrows spears, helmets with crests. They stab with spears,
slash with swords, beat, shoot arrows, inflict wounds and losses on the enemy, deal
blows, behead, cause damage and death, slaughter the infantry. As a result wooden dead
bodies are lying side by side, camps are covered with lying victims.
Although Machalski (1951) complained that throughout ages chess has lost a part of
its war character (due to not too combat names of pieces in some languages: lady,
bishop, clown), the thesis that chess is a metaphor of war is indisputable.
Another goal of our research was to show chess metaphors in particular languages. The
author managed to gather a lot of examples of figurative usage of chess vocabulary, in
particular in Polish and English, both in sermons, morality works as well as in articles,
and colloquial speech. It proves that for ages chess has occupied an important place in
human culture and chess vocabulary and general languages have been interpenetrating
all that time.
Chess metaphors usually describe perfectly the reality in situations full of tension.
Expressions such as to keep somebody in check both show the situation very
expressively and aptly. The same may be said about a figurative usage of the word
gambit. However, some chess expressions seem to be a little deformed when using in
general language. For example, stalemate in chess is not a situation without
a reasonable solution. It is simply a draw, usually with considerable material inequality.
Only the player who is to move has no legal move. The use of the word zugzwang
seems similar. However, the main idea of a zugzwang does not consist in a bad position
but the fact that any move makes it worse. Castling in many languages means ‘to
153
reshuffle’. But in chess the castling is a complex move. The king and a rook change
their positions. Neither piece disappears from the chessboard. By contrast, after a
typical reshuffle some people are dismissed. Nevertheless, although some subtle
inconsistencies may be found a general spirit of particular notions is maintained.
The next issue is a comparison of chess vocabularies among particular languages.
Although two examined languages belong to the group of Slavic and two to Germanic
languages, it is English that seems to break rank from semantic similarities. Some
examples may be the following pairs: (the first word is the English name, the second an
English literally translation of the other languages) square - field, light/dark white/black, minor/major piece - light/heavy piece, exchange - quality. English castling
is not related to roszada, Rochade рокировка in Polish, German and Russian,
respectively. Only in English the pair game - part is not motivated etc.
The author availed himself of a great number of publications (chess books,
magazines, The FIDE Laws of Chess articles, dictionaries, linguistics books etc.,
Internet sites) as well as consultations. He managed to reach native speakers in Russian
and German. Also his own experience as a former professional chess-player, coach and
theoretician turned out to be very helpful. Nevertheless, it does not mean that he did not
encounter difficulties at his work. As mentioned, the author did not find any serious
studies on the borderline between linguistics and chess. Most books about widelyunderstood culture and chess are written for general public and are not scientific in their
approach to the problem. Moreover, there are numerous incompatibilities in data or
some information tends to be rewritten uncritically. More systemic studies refer only to
the etymology of chess vocabulary and history. Hence, we, in a modest scope, had to
blaze a trail for other researchers to follow. Both the etymological research and study of
chess metaphors in the output of outstanding writers seems to be a satisfying subject
The author does not know any studies on the Polish market and therefore he hopes
that this work will be helpful.
The game is going to be over. Let us end it with a sentence of a famous writer.
‘Life is like chess: after a finished game kings and ordinary pawns are put into the same
box.’
Miguel Cervantes (1547-1616)
154
Streszczenie
Praca magisterska Multilingual Chess Terminology - a Synchronic and Diachronic
Perspective „Wielojęzykowa terminologia szachowa - podejście synchroniczne
i diachroniczne” przedstawia szachy w szerokim kontekście: językowym, kulturalnym,
historycznym, a nawet filozoficznym. Rozpatrywanymi językami są: język angielski,
polski, niemiecki i rosyjski. Głównym celem pracy jest zbadanie jaki obraz świata
narzucają szachy. Ponieważ szachy są gra strategiczna, sformułowano roboczą hipotezę,
że są one metaforą walki i wojny. Drugi problem badawczy stanowi porównanie
poszczególnych języków.
Pierwszy rozdział omawia krótko historię szachów i ich miejsce w kulturze.
Przedstawia wybitnych ludzi, którzy pasjonowali się szachami: artystów, pisarzy,
polityków, papieży. W drugim rozdziale przedstawione są teoretyczne zagadnienia
językoznawcze, potrzebne do części praktycznej m.in. historia językoznawstwa,
etymologia, formy języka, figury retoryczne.
Trzeci rozdział zawiera analizę słownictwa szachowego. Autor stosuje dwa różne
podejścia.
Podejście
diachroniczne
obejmuje
historię
języka,
etymologię
poszczególnych wyrazów, zmiany zachodzące podczas ich wędrówki itp. Podejście
synchroniczne jest analizą języka w danym momencie jako systemu, bez uwzględniania
zmian historycznych. W niniejszej pracy obejmuje ona głównie zastosowanie
słownictwa szachowego w języku ogólnym i odwrotnie.
155
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